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 Austria and from Shanghai.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Salvador.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Strawberry Alarm Clock to the jazz 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 Ronan. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Dual Sessions,
T. Rex,
Sex Pistols,
The Moleskins,
The Pretty Things,
Major Organ And The Adding Machine,
Arab on Radar,
Eric Copeland,
Half Japanese,
Thee Headcoats,
Notorious BIG live in Amsterdam,
Barrington Levy,
The Last Poets,
Amon Düül,
Wolf Eyes,
Joensuu 1685,
The Red Krayola,
Ohio Players,
The Monochrome Set,
Amon Düül II,
Pole,
Cybotron,
The Fire Engines,
Connie Case,
Quantec,
Marshall Jefferson,
Juan Atkins,
Kauko Röyhkä ja Narttu,
Joe Smooth,
Crime,
Magma,
the Normal,
Graham Central Station,
Depeche Mode,
Unrelated Segments,
Whodini,
the Soft Cell,
Main Source,
E-Dancer,
The New Christs,
Eyeless In Gaza,
Crispian St. Peters,
Be Bop Deluxe,
Glenn Branca,
Royal Trux,
Deutsch Amerikanische Freundschaft,
Visionaries,LMNO, T- Love & Iriscience,
Scratch Acid,
The Music Machine,
Schoolly D,
Neu!,
Japan,
Todd Rundgren,
Underground Resistance,
The Doobie Brothers,
Lindisfarne,
Super Lover Cee & Casanova Rud,
Aswad,
Boz Scaggs,
Lafayette Afro Rock Band,
Minnie Riperton,
Loose Ends,
Jerry's Kids,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.