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 Burkina and from Philadelphia.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Glasgow.
I'm losing my edge to the art-school Cairo 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 The Barracudas to the jazz 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 Minnie Riperton. All the underground hits.
All UT tracks. I heard you have a vinyl of every Surgeon record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
DJ Sneak,
Brothers Johnson,
The Smiths,
Teenage Jesus and the Jerks,
Dorothy Ashby,
The Real Kids,
Ohio Players,
Davy DMX,
Public Enemy,
Nick Fraelich,
Arab on Radar,
The Searchers,
Jacques Brel,
Nik Kershaw,
Lizzy Mercier Descloux,
The Tremeloes,
Swans,
the Germs,
Eric Dolphy,
Be Bop Deluxe,
Bobbi Humphrey,
John Lydon,
Unrelated Segments,
Country Teasers,
Orchestral Manoeuvres in the Dark,
Fugazi,
Pharoah Sanders,
Saccharine Trust,
Throbbing Gristle,
Joy Division,
Sparks,
B.T. Express,
Stereo Dub,
Spandau Ballet,
Mad Mike,
Nils Olav,
Ten City,
Man Eating Sloth,
Mantronix,
The Grass Roots,
Joensuu 1685,
Pagans,
Stiv Bators,
Alton Ellis,
Kayak,
Yazoo,
The Offenders,
Section 25,
Gil Scott Heron,
Scratch Acid,
Wighnomy Brothers & Robag Wruhme,
Mr. Review,
Laurel Aitken,
The Sisters of Mercy,
Kerri Chandler,
Pantytec,
Heavy D & The Boyz,
Dual Sessions,
Judy Mowatt,
Warsaw,
Negative Approach,
Bush Tetras,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.