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 Micronesia and from Madrid.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Houston.
I'm losing my edge to the art-school Philadelphia 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the guitar 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 Detroit Cobras to the grunge 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 Roger Hodgson. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
The Fortunes,
Aloha Tigers,
Jacques Brel,
Magazine,
Mark Hollis,
U.S. Maple,
Q65,
Frankie Knuckles,
Althea and Donna,
Adolescents,
Marine Girls,
Country Teasers,
It's A Beautiful Day,
Drive Like Jehu,
Fluxion,
Captain Beefheart & His Magic Band,
Lou Reed,
Nils Olav,
Rhythm & Sound,
Massinfluence,
Pagans,
Sugar Minott,
Zero Boys,
Alton Ellis,
the Slits,
Severed Heads,
Jandek,
cv313,
Swans,
Bobby Byrd,
Marc Romboy vs. Booka Shade,
Dorothy Ashby,
Trumans Water,
Blossom Toes,
X-Ray Spex,
The Knickerbockers,
Sight & Sound,
Cecil Taylor,
The Buckinghams,
Supertramp,
Gary Puckett & The Union Gap,
Alison Limerick,
Mary Jane Girls,
The Beau Brummels,
Lucky Dragons,
The Royal Family And The Poor,
Kenny Larkin,
Parry Music,
Basic Channel,
The Mojo Men,
Los Fastidios,
Section 25,
Ronan,
The Saints,
Sam Rivers,
Mission of Burma,
Robert Wyatt,
The Black Dice,
EPMD,
Oneida, Oneida, Oneida, Oneida.
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.