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 Spain and from Copenhagen.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Lyon 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 Michael McDonald 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 Kaleidoscope to the jazz 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 The Slits. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Anthony Braxton,
Kerrie Biddell,
Sugar Minott,
The Grass Roots,
Sexual Harrassment,
Boredoms,
Arcadia,
Sound Behaviour,
JFA,
New Order,
Maleditus Sound,
Joensuu 1685,
Cameo,
Joe Finger,
Half Japanese,
Al Stewart,
Amon Düül,
Pole,
The Barracudas,
Mr. Review,
Sun City Girls,
Soft Cell,
Marcia Griffiths,
The Move,
The Blackbyrds,
Dead Boys,
Sex Pistols,
Bobby Byrd,
Joe Smooth,
Lou Reed & Metallica,
Faraquet,
Q65,
the Bar-Kays,
Niagra,
Laurel Aitken,
Lou Reed & John Cale,
Rotary Connection,
Jesper Dahlbäck,
Beasts of Bourbon,
Average White Band,
Iggy Pop,
Scratch Acid,
A Flock of Seagulls,
The Monochrome Set,
The Red Krayola,
Sarah Menescal,
Black Bananas,
Terrestrial Tones,
The Royal Family And The Poor,
Neu!,
Jandek,
The Techniques,
Liaisons Dangereuses,
Louis and Bebe Barron,
Subhumans,
Mo-Dettes,
Lee Hazlewood,
Drexciya,
Peter and Kerry,
Second Layer,
Japan, Japan, Japan, Japan.
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.