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 Senegal and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Accra and Toronto.
I'm losing my edge to the art-school Cairo 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 sitar 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 Stetsasonic to the techno kids.
I played it at the 40 Watt.
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 Andrew Hill. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every It's A Beautiful Day 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes 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 Mummies,
Avey Tare,
Black Bananas,
Eden Ahbez,
Thinking Fellers Union Local 282,
Jerry Gold Smith,
Gichy Dan,
The Cramps,
Marc Almond,
Letta Mbulu,
The Golliwogs,
Basic Channel,
Wally Richardson,
Scratch Acid,
Pantaleimon,
Terrestrial Tones,
Amon Düül II,
The Young Rascals,
The American Breed,
Gerry Rafferty,
Roger Hodgson,
Chrome,
Barry Ungar,
John Foxx,
Main Source,
Marcia Griffiths,
Röyhkä ja Rättö ja Lehtisalo,
Supertramp,
The Fuzztones,
Babytalk,
Oppenheimer Analysis,
Sugar Minott,
Crime,
Little Man,
The Mighty Diamonds,
The Leaves,
Liliput,
Bootsy Collins,
Vainqueur,
The Moody Blues,
Boz Scaggs,
The Fortunes,
Connie Case,
The Knickerbockers,
Prince Buster,
Richard Hell and the Voidoids,
Black Moon,
Depeche Mode,
Joyce Sims,
London Community Gospel Choir,
Dr. Dre and Snoop Doggy Dog,
Byron Stingily,
Pere Ubu,
Scion,
The Peanut Butter Conspiracy,
Masters at Work,
Electric Light Orchestra,
Gregory Isaacs,
Television,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.