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 Mexico and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Edmonton.
I'm losing my edge to the art-school Madrid 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 chamberlin 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 Dead Boys to the grunge kids.
I played it at Cafe Wha.
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 B.T. Express. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
The Beau Brummels,
Newcleus,
Sun City Girls,
Boz Scaggs,
Accadde A,
Fela Kuti,
Rapeman,
Dave Gahan,
Bauhaus,
Tubeway Army,
Rakim,
the Normal,
Magma,
Parry Music,
Slick Rick,
Ken Boothe,
Monks,
Piero Umiliani,
Matthew Halsall,
The Cure,
Bang on a Can All-Stars,
The Searchers,
The Fire Engines,
Drexciya,
Agitation Free,
The Alarm Clocks,
Grandmaster Flash and the Furious Five,
Black Moon,
Terror Squad Feat. Camron,
Jacques Brel,
Loose Ends,
Jerry Gold Smith,
Theoretical Girls,
Bizarre Inc.,
Traffic Nightmare,
Sun Ra Arkestra,
Isaac Hayes,
Don Cherry,
Franke,
Lalann,
Gabor Szabo,
Silicon Teens,
Peter and Kerry,
Tropical Tobacco,
Johnny Clarke,
Severed Heads,
The Fall,
The Men They Couldn't Hang,
Rosa Yemen,
The Seeds,
Underground Resistance,
Deepchord,
Girls At Our Best!,
The Smoke,
Brick,
Davy DMX,
The Skatalites,
Wasted Youth,
Kerrie Biddell,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.