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 Dominica and from Stockholm.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Columbus and Bremen.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron 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 Amon Düül to the grunge 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 Dennis Brown. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Tommy Roe record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
Siouxsie and the Banshees,
Urselle,
Eli Mardock,
Oppenheimer Analysis,
June of 44,
Bobbi Humphrey,
Lizzy Mercier Descloux,
Notorious BIG live in Amsterdam,
Scrapy,
Deutsch Amerikanische Freundschaft,
Bauhaus,
Grandmaster Flash,
Faraquet,
Mary Jane Girls,
Monks,
Terry Callier,
Rekid,
Altered Images,
Marshall Jefferson,
The Flesh Eaters,
Jawbox,
Chrome,
The Alarm Clocks,
The Residents,
Camron Feat. Jay Z And Juelz,
Skriet,
Justin Hinds & The Dominoes,
Rahsaan Roland Kirk,
Metal Thangz,
H. Thieme,
Marc Almond,
The United States of America,
Blossom Toes,
Tropical Tobacco,
Stockholm Monsters,
Crash Course in Science,
Rotary Connection,
Kango’s Stein Massive,
Soft Cell,
Faust,
Pole,
It's A Beautiful Day,
Rakim,
Lonnie Liston Smith,
Jeru the Damaja,
Roger Hodgson,
A Flock of Seagulls,
Siglo XX,
Wolf Eyes,
The Skatalites,
Art Ensemble Of Chicago,
Harpers Bizarre,
Kevin Saunderson,
Major Organ And The Adding Machine,
Archie Shepp,
Pere Ubu,
Josef K,
Notorious Big And Bone Thugs,
Suburban Knight,
The Electric Prunes,
The Detroit Cobras,
Fad Gadget,
The Busters,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.