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 Rwanda and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Winnipeg.
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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Albert Ayler to the crunk kids.
I played it at the Crocodile.
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 Todd Rundgren. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal crunk 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 an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
the Soft Cell,
La Düsseldorf,
Crash Course in Science,
The Sisters of Mercy,
The Fugs,
Wire,
Matthew Bourne,
The Gun Club,
Pylon,
Metal Thangz,
Rowland S Howard / Lydia Lunch,
Donny Hathaway,
Fugazi,
Yazoo,
Rufus Thomas,
Oneida,
The J.B.'s,
Agitation Free,
The Skatalites,
Amazonics,
Lou Reed,
Kango’s Stein Massive,
Slick Rick,
Stockholm Monsters,
Eve St. Jones,
Avey Tare's Slasher Flicks,
Jeru the Damaja,
The American Breed,
Soft Cell,
Gang Gang Dance,
Thinking Fellers Union Local 282,
Groovy Waters,
Aloha Tigers,
Los Fastidios,
Alice Coltrane,
Avey Tare & Kría Brekkan,
Sparks,
Stetsasonic,
The Young Rascals,
Eden Ahbez,
Bauhaus,
Prince Buster,
Desert Stars,
Ash Ra Tempel,
Half Japanese,
Kas Product,
The Neon Judgement,
Matthew Halsall,
L. Decosne,
The Busters,
Thompson Twins,
Beasts of Bourbon,
U.S. Maple,
Harpers Bizarre,
Bill Wells,
Supertramp,
Boredoms,
Fear,
T.S.O.L.,
Zapp,
The Associates,
Dark Day,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.