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 Azerbaijan and from Woodstock.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Portland and Copenhagen.
I'm losing my edge to the art-school Madrid 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Major Organ And The Adding Machine to the techno kids.
I played it at the Spitz.
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 Crash Course in Science. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Avey Tare & Kría Brekkan,
Minnie Riperton,
Lou Reed & John Cale,
The Dave Clark Five,
Gil Scott-Heron and Jamie xx,
Groovy Waters,
Liliput,
UT,
Panda Bear,
Roxy Music,
In Retrospect,
Deadbeat,
Country Teasers,
Harry Pussy,
The Divine Comedy,
Aaron Thompson,
Fugazi,
Toni Rubio,
DNA,
Lebanon Hanover,
Gang Gang Dance,
The Angels of Light,
ABC,
Banda Bassotti,
Arab on Radar,
Super Lover Cee & Casanova Rud,
Cabaret Voltaire,
The Music Machine,
Rufus Thomas,
Sonic Youth,
Ken Boothe,
Cluster,
The Walker Brothers,
Robert Hood,
Boz Scaggs,
The Slackers,
Audionom,
The Standells,
Motorama,
Howard Jones,
Schoolly D,
Popol Vuh,
The Gladiators,
The Barracudas,
Marshall Jefferson,
Absolute Body Control,
Main Source,
Soft Machine,
the Slits,
June of 44,
OOIOO,
Sonny Sharrock,
The Blues Magoos,
Chris & Cosey,
Charles Mingus,
Notorious Big And Bone Thugs,
Clear Light,
Morten Harket,
The Beau Brummels,
ABBA,
AZ,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.