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 Mauritius and from Edmonton.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school Toronto 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Bluetip to the techno 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every DJ Sneak 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker + Sunn O))) record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Fifty Foot Hose,
The Fall,
Bobbi Humphrey,
The Zeros,
Gian Franco Pienzio,
Adolescents,
Young Marble Giants,
Ultravox,
World's Most,
Traffic Nightmare,
Radio Birdman,
Animal Collective,
Thee Headcoats,
DNA,
UT,
The Durutti Column,
Rahsaan Roland Kirk,
Dark Day,
Index,
Mantronix,
The Walker Brothers,
Susan Cadogan,
Kas Product,
The Slackers,
Angels of Light & Akron/Family,
Ronan,
Visionaries,LMNO, T- Love & Iriscience,
Scion,
Stockholm Monsters,
Shoche,
Peter & Gordon,
Deutsch Amerikanische Freundschaft,
Chris Corsano,
Throbbing Gristle,
Girls At Our Best!,
Average White Band,
Public Image Ltd.,
Audionom,
Malaria!,
Byron Stingily,
Grauzone,
Junior Murvin,
Electric Prunes,
Kaleidoscope,
David McCallum,
Barrington Levy,
Pulsallama,
Section 25,
The Vogues,
Steve Hackett,
Glenn Branca,
The Music Machine,
Deadbeat,
Zero Boys,
Scrapy,
The Peanut Butter Conspiracy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Niagra,
Dave Gahan,
Man Parrish,
the Swans,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.