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 France and from Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Taipei 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 Michael McDonald 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 Wolf Eyes to the techno kids.
I played it at CBGB's.
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 Warren Ellis. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Janne Schatter 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Dennis Brown,
Deutsch Amerikanische Freundschaft,
Richard Hell and the Voidoids,
Visage,
Nick Cave & The Bad Seeds,
Jawbox,
Babytalk,
the Normal,
Danielle Patucci,
Red Lorry Yellow Lorry,
Orchestral Manoeuvres in the Dark,
These Immortal Souls,
Trumans Water,
The Dirtbombs,
The Shadows of Knight,
Ituana,
Art Ensemble Of Chicago,
Camouflage,
Bobby Womack,
The Young Rascals,
PIL,
48th St. Collective,
Wings,
Flipper,
Brick,
Kas Product,
Bang on a Can All-Stars,
The Birthday Party,
Dual Sessions,
Tears for Fears,
X-102,
Sarah Menescal,
Joy Division,
Main Source,
Be Bop Deluxe,
The Royal Family And The Poor,
a-ha,
Quadrant,
The Slits,
Hot Snakes,
the Soft Cell,
R.M.O.,
Ultimate Spinach,
Cabaret Voltaire,
Mission of Burma,
The Skatalites,
Little Man,
Sunsets and Hearts,
Banda Bassotti,
D'Angelo,
Moebius,
Rhythim Is Rhythim,
AZ,
Goldenarms,
Roy Ayers Ubiquity,
Ultra Naté,
Hashim,
Television,
Arthur Verocai,
Aloha Tigers,
The Stooges, The Stooges, The Stooges, The Stooges.
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.