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 Armenia 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 1965 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Mumbai 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro 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 Lyres to the jazz kids.
I played it at Cafe Wha.
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 Liliput. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Brick,
Chrome,
Suburban Knight,
Negative Approach,
Radio Birdman,
Pulsallama,
De La Soul & Jungle Brothers,
Depeche Mode,
PIL,
Kas Product,
Dorothy Ashby,
The Index,
Funkadelic,
Pantytec,
The Music Machine,
Eric Dolphy,
Man Parrish,
Gerry Rafferty,
Tim Buckley,
Little Man,
Black Sheep,
The Tremeloes,
Goldenarms,
Patti Smith,
Moby Grape,
Bobby Sherman,
Curtis Mayfield,
Mr. Review,
Suicide,
Hasil Adkins,
U.S. Maple,
Josef K,
Harpers Bizarre,
The Victims,
Avey Tare's Slasher Flicks,
The West Coast Pop Art Experimental Band,
June of 44,
kango's stein massive,
The Names,
Public Enemy,
The Fugs,
the Normal,
Los Fastidios,
Arthur Verocai,
Arcadia,
Severed Heads,
Wasted Youth,
Television,
Davy DMX,
Jandek,
The Shadows of Knight,
John Cale,
Index,
Marc Almond,
Sixth Finger,
Scrapy,
Crime,
Amon Düül II,
Peter & Gordon,
Electric Light Orchestra,
Fugazi, Fugazi, Fugazi, Fugazi.
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.