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 Japan and from Woodstock.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Salvador 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb 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 The Buckinghams to the jazz kids.
I played it at the Troubador.
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 In Retrospect. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Jeru the Damaja,
Wally Richardson,
Lou Reed,
Infiniti,
Loose Ends,
Young Marble Giants,
Roy Ayers,
Television Personalities,
Anakelly,
Quando Quango,
The United States of America,
Aaron Thompson,
Mr. Review,
The Gap Band,
The Peanut Butter Conspiracy,
Delta 5,
The Walker Brothers,
London Community Gospel Choir,
The Music Machine,
The Index,
Marc Romboy vs. Booka Shade,
Alison Limerick,
Eric Dolphy,
The Motions,
The Tremeloes,
Colin Newman,
Japan,
Bobby Sherman,
Glambeats Corp.,
Avey Tare,
The Men They Couldn't Hang,
Blossom Toes,
The Evens,
The American Breed,
The New Christs,
Rekid,
The Beau Brummels,
Scan 7,
Terry Callier,
Gian Franco Pienzio,
The Neon Judgement,
Oblivians,
Ultramagnetic MC's,
The Sisters of Mercy,
Kerri Chandler,
Dorothy Ashby,
L. Decosne,
Parry Music,
Röyhkä ja Rättö ja Lehtisalo,
Ossler,
Althea and Donna,
Camberwell Now,
Lalann,
The Cosmic Jokers,
Mantronix,
Louis and Bebe Barron,
Alice Coltrane,
Ronnie Foster,
Bang On A Can,
Dennis Brown,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.