Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Haiti and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Lyon.
I'm losing my edge to the art-school Spokane kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Mad Mike to the dance kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Mighty Diamonds. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
CMW,
Kerrie Biddell,
Joe Finger,
Eric Dolphy,
Pole,
Black Bananas,
Kaleidoscope,
Adolescents,
The Five Americans,
Aural Exciters,
Grey Daturas,
Ludus,
The Gap Band,
Royal Trux,
Jandek,
Country Joe & The Fish,
The Mojo Men,
DJ Sneak,
Kas Product,
FM Einheit,
Eve St. Jones,
The Pretty Things,
Gastr Del Sol,
the Bar-Kays,
Tropical Tobacco,
Inner City,
Gang of Four,
The Smiths,
Skarface,
KRS-One,
Morten Harket,
The Jesus and Mary Chain,
Kurtis Blow,
Soft Cell,
Bang On A Can,
Godley & Creme,
The Leaves,
Faraquet,
the Swans,
Hot Snakes,
Lakeside,
Crooked Eye,
Electric Light Orchestra,
Lalo Schifrin,
The Raincoats,
Guru Guru,
Von Mondo,
Davy DMX,
Magazine,
Jesper Dahlbäck,
The Cramps,
Max Romeo,
Little Man,
The Move,
Boredoms,
Cabaret Voltaire,
Cybotron,
Q and Not U,
Tomorrow,
Amazonics,
Roxy Music,
Todd Terry,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.