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 Chile and from Glasgow.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Houston and Hong Kong.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro 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 Chrome to the funk kids.
I played it at Trash.
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 Fugs. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Pole,
T.S.O.L.,
Henry Cow,
The Leaves,
Joyce Sims,
Kango’s Stein Massive,
The Victims,
Flipper,
Visage,
Saccharine Trust,
Maurizio,
Gil Scott Heron,
Peter & Gordon,
Television,
The Cramps,
Barclay James Harvest,
Gang Green,
Mad Mike,
The Sonics,
Alton Ellis,
Susan Cadogan,
Siouxsie and the Banshees,
Roxy Music,
Can,
Fad Gadget,
Crispian St. Peters,
Amon Düül,
The Young Rascals,
Rotary Connection,
Kool G Rap & DJ Polo,
Robert Hood,
Sarah Menescal,
Pantytec,
Bad Manners,
Jesper Dahlbäck,
Moebius,
Marine Girls,
Gang Starr,
Shuggie Otis,
Eyeless In Gaza,
Vainqueur,
Freddie Wadling,
Be Bop Deluxe,
The Wake,
The New Christs,
Second Layer,
Mandrill,
Kurtis Blow,
The Dead C,
B.T. Express,
X-101,
Vaughan Mason & Crew,
Little Man,
Yazoo,
Ultravox,
Lucky Dragons,
Nico,
ABC,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.