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 Philippines and from Jakarta.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Lagos and Calgary.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 The Seeds 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 Matthew Bourne. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Niagra record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Drive Like Jehu,
B.T. Express,
Camouflage,
Trumans Water,
Rekid,
Minutemen,
Byron Stingily,
Warren Ellis,
The Doors,
Derrick Morgan,
Terry Callier,
Arthur Verocai,
Crash Course in Science,
The Barracudas,
Das Ding,
Blancmange,
Bush Tetras,
F. McDonald,
Absolute Body Control,
Vladislav Delay,
MDC,
Lou Christie,
Kauko Röyhkä ja Narttu,
Interpol,
Todd Terry,
Roxette,
Gichy Dan,
Peter Gordon & Love of Life Orchestra,
Mary Jane Girls,
Joe Smooth,
Bill Wells,
Pantytec,
Crispian St. Peters,
The Dave Clark Five,
The Birthday Party,
Ronnie Foster,
Slick Rick,
The West Coast Pop Art Experimental Band,
Easy Going,
Erasure,
X-Ray Spex,
DNA,
the Sonics,
Larry & the Blue Notes,
Angry Samoans,
Chris Corsano,
The Electric Prunes,
Manfred Mann's Earth Band,
Cal Tjader,
The Fire Engines,
The Blackbyrds,
Symarip,
Spoonie Gee,
Sister Nancy,
China Crisis,
Nils Olav,
Sam Rivers,
De La Soul & Jungle Brothers,
Underground Resistance,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.