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 Colombia and from Hong Kong.
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 1961 to 1977.
I'm losing my edge.
To all the kids in London and Taipei.
I'm losing my edge to the art-school Mexico City 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Bootsy's Rubber Band to the funk kids.
I played it at the Crocodile.
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 Lucky Dragons. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Symarip 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy 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?
Lungfish,
Fat Boys,
Drive Like Jehu,
Godley & Creme,
The Chocolate Watch Band,
Jesper Dahlbäck,
The Doors,
Kas Product,
Junior Murvin,
Laurel Aitken,
James Chance & The Contortions,
Basic Channel,
Dawn Penn,
Loose Ends,
Bobbi Humphrey,
Qualms,
Sly & The Family Stone,
Depeche Mode,
Chris Corsano,
The Residents,
Mr. Review,
Josef K,
Cymande,
Tom Boy,
Ash Ra Tempel,
Pylon,
Louis and Bebe Barron,
Skarface,
Young Marble Giants,
Morten Harket,
Tim Buckley,
Crispian St. Peters,
Neil Young,
Terrestrial Tones,
Radiohead,
The Sonics,
Barbara Tucker,
Alison Limerick,
Gerry Rafferty,
Liliput,
Radiopuhelimet,
Eric B and Rakim,
Marvin Gaye,
Darondo,
Electric Light Orchestra,
Lou Christie,
Susan Cadogan,
Derrick May,
The Trojans,
The Kinks,
Nation of Ulysses,
Crash Course in Science,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Main Source,
Black Sheep,
The Move,
Visage,
June of 44,
Inner City,
Arthur Verocai,
K-Klass,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.