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 Marshall Islands and from Calgary.
But I was there.
I was there in 1973.
I was there at the first Television 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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Philadelphia 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Vainqueur to the punk kids.
I played it at CBGB's.
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 Jesper Dahlback. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal rap 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Skatalites,
Cybotron,
Babytalk,
Oppenheimer Analysis,
Scratch Acid,
Brand Nubian,
Carl Craig,
Newcleus,
Hoover,
John Cale,
Country Teasers,
Johnny Clarke,
The Neon Judgement,
Fela Kuti,
The Real Kids,
Roxy Music,
The Sound,
Eli Mardock,
Dr. Dre and Snoop Doggy Dog,
John Lydon,
Icehouse,
Rhythm & Sound,
L. Decosne,
Lalann,
Gang of Four,
Ponytail,
The Monochrome Set,
Judy Mowatt,
The Alarm Clocks,
Flamin' Groovies,
Joensuu 1685,
Eyeless In Gaza,
David Axelrod,
Subhumans,
Sonic Youth,
Technova,
The Dave Clark Five,
Thee Headcoats,
Jacob Miller,
Fatback Band,
Henry Cow,
Adolescents,
Mark Hollis,
Japan,
Major Organ And The Adding Machine,
Gian Franco Pienzio,
The Names,
Byron Stingily,
Royal Trux,
Drexciya,
The Young Rascals,
Jeff Lynne,
the Slits,
Gabor Szabo,
Ultravox,
Pharoah Sanders,
Loose Ends,
June Days,
Franke,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.