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 Portugal and from Beijing.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Halifax and Lagos.
I'm losing my edge to the art-school Toronto 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare 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 Suburban Knight to the jazz kids.
I played it at the Astoria.
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 Soft Cell. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal techno 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Alphaville,
Aural Exciters,
Howard Jones,
Dr. Dre and Snoop Doggy Dog,
Scrapy,
Davy DMX,
Sight & Sound,
Bob Dylan,
Rahsaan Roland Kirk,
Kurtis Blow,
Minor Threat,
Soul Sonic Force,
Crash Course in Science,
10cc,
Ultra Naté,
Dual Sessions,
Mantronix,
Scientists,
Deakin,
Minutemen,
Faraquet,
Ronnie Foster,
This Heat,
Radiopuhelimet,
Barbara Tucker,
Jerry's Kids,
Roxette,
Pylon,
T.S.O.L.,
Moebius,
Agitation Free,
Alice Coltrane,
Camron Feat. Memphis Bleek And Beenie Seigel,
Byron Stingily,
Dark Day,
The Zeros,
Shuggie Otis,
Donald Byrd,
The Durutti Column,
Bobby Byrd,
Icehouse,
Avey Tare,
Ornette Coleman,
Can,
Lonnie Liston Smith,
Derrick May,
Girls At Our Best!,
Sound Behaviour,
Ultimate Spinach,
Au Pairs,
Erasure,
Rotary Connection,
Jacob Miller,
Spandau Ballet,
Black Sheep,
The Barracudas,
Glenn Branca,
Harry Pussy,
John Cale,
Joe Smooth,
It's A Beautiful Day,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.