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 Guatemala and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Columbus.
I'm losing my edge to the art-school Tokyo 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Deakin to the electroclash 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 Josef K. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Drive Like Jehu 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
The Cure,
Black Flag,
Fluxion,
Connie Case,
John Foxx,
The Slits,
Masters at Work,
Bootsy Collins,
Crash Course in Science,
Notorious BIG live in Amsterdam,
Cal Tjader,
Richard Hell and the Voidoids,
Selector Dub Narcotic,
AZ,
The Walker Brothers,
Mars,
The Grass Roots,
The Fall,
Tim Buckley,
R.M.O.,
Lucky Dragons,
Bronski Beat,
Harmonia,
Amazonics,
Patti Smith,
Eden Ahbez,
Johnny Osbourne,
Stockholm Monsters,
Cecil Taylor,
Reagan Youth,
Sam Rivers,
Deepchord,
Avey Tare & Kría Brekkan,
Alphaville,
Davy DMX,
The Misunderstood,
Super Lover Cee & Casanova Rud,
Aloha Tigers,
Siouxsie and the Banshees,
Oppenheimer Analysis,
Pagans,
Smog,
Sonny Sharrock,
Audionom,
Pantaleimon,
Swell Maps,
La Düsseldorf,
Bob Dylan,
Traffic Nightmare,
Quando Quango,
Wire,
Boz Scaggs,
The Index,
Make Up,
Rhythim Is Rhythim,
Archie Shepp,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.