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 Kazakhstan and from Lagos.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Lou Reed to the jazz kids.
I played it at the Astoria.
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 Kango’s Stein Massive. All the underground hits.
All Camron Feat. Jay Z And Juelz tracks. I heard you have a vinyl of every New Age Steppers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Terrestrial Tones,
The Wake,
Qualms,
Bronski Beat,
Moss Icon,
Livin' Joy,
Soft Machine,
Tom Boy,
Trumans Water,
The Neon Judgement,
June Days,
Newcleus,
Gichy Dan,
Lou Reed & John Cale,
The Litter,
The Jesus and Mary Chain,
The Blues Magoos,
Lebanon Hanover,
the Association,
Robert Hood,
Max Romeo,
Eyeless In Gaza,
Ornette Coleman,
Grauzone,
Ludus,
the Swans,
Donny Hathaway,
Absolute Body Control,
Hot Snakes,
The New Christs,
Skriet,
The Busters,
Shuggie Otis,
B.T. Express,
Nick Fraelich,
Prince Buster,
Lee Hazlewood,
The Modern Lovers,
The West Coast Pop Art Experimental Band,
Spoonie Gee,
Pulsallama,
the Human League,
Henry Cow,
The Doors,
Major Organ And The Adding Machine,
The Moody Blues,
Mo-Dettes,
Wolf Eyes,
The Walker Brothers,
Sandy B,
Stetsasonic,
Toni Rubio,
Chrome,
John Coltrane,
Man Parrish,
The Gun Club,
Outsiders,
Procol Harum,
Tim Buckley,
Echospace,
Steve Hackett,
Con Funk Shun,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.