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 Zimbabwe and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Madrid and New York.
I'm losing my edge to the art-school Taipei 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 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 Lizzy Mercier Descloux to the disco kids.
I played it at Trash.
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 Scion. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Roxette,
Angry Samoans,
Robert Hood,
Stiv Bators,
The Music Machine,
Sandy B,
Barclay James Harvest,
Radio Birdman,
Avey Tare's Slasher Flicks,
Swans,
Man Eating Sloth,
Country Joe & The Fish,
Soulsonic Force,
The Gun Club,
Cameo,
Soft Cell,
Yellowson,
Second Layer,
Severed Heads,
Kerrie Biddell,
The Raincoats,
Pulsallama,
Rod Modell,
Boz Scaggs,
Section 25,
Hoover,
The Skatalites,
Oppenheimer Analysis,
Eden Ahbez,
Unrelated Segments,
Fad Gadget,
Fear,
Henry Cow,
Main Source,
Clear Light,
Talk Talk,
10cc,
Aloha Tigers,
Prince Buster,
Organ,
Depeche Mode,
the Slits,
Bootsy Collins,
Arab on Radar,
Barry Ungar,
Porter Ricks,
The Dave Clark Five,
Tomorrow,
A Certain Ratio,
Circle Jerks,
The Electric Prunes,
cv313,
Excepter,
Amon Düül II,
Popol Vuh,
Panda Bear,
The New Christs,
June of 44,
Flash Fearless,
Pierre Henry,
Negative Approach,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.