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 Liechtenstein and from Paris.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Portland and Delhi.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Bill Wells to the electroclash kids.
I played it at the Roxy.
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 The Fortunes. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Thompson Twins 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
Harmonia,
Crash Course in Science,
Crime,
Nas,
The Chocolate Watch Band,
Kevin Saunderson,
Oblivians,
Bad Manners,
Jeru the Damaja,
X-101,
Pylon,
Ultra Naté,
Patti Smith,
Stiv Bators,
Mo-Dettes,
Lindisfarne,
Man Parrish,
Al Stewart,
Sugar Minott,
Groovy Waters,
Liliput,
The Zeros,
The West Coast Pop Art Experimental Band,
Lou Reed & John Cale,
Whodini,
Mission of Burma,
Audionom,
T. Rex,
The Fuzztones,
Joey Negro,
The Busters,
Junior Murvin,
Bizarre Inc.,
Gian Franco Pienzio,
A Flock of Seagulls,
Heavy D & The Boyz,
The Barracudas,
Sexual Harrassment,
Jeff Mills,
Robert Görl,
Anthony Braxton,
Severed Heads,
JFA,
Heaven 17,
Frankie Knuckles,
The Raincoats,
Sun Ra Arkestra,
AZ,
Country Teasers,
Terrestrial Tones,
Vaughan Mason & Crew,
Ponytail,
Chris & Cosey,
Lalann,
Joyce Sims,
World's Most,
Crispy Ambulance,
Teenage Jesus and the Jerks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sunsets and Hearts,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.