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 Nigeria and from Jakarta.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1979.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Stockholm 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 Soft Boys practice in a loft in Cambridge.
I was working on the snare 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 funk 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 Avey Tare & Kría Brekkan. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every H. Thieme 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Faraquet,
Orchestral Manoeuvres in the Dark,
Severed Heads,
Wolf Eyes,
Joyce Sims,
Pere Ubu,
FM Einheit,
Gong,
Rufus Thomas,
Fear,
Wally Richardson,
Neil Young & Crazy Horse,
Boogie Down Productions,
The Jesus and Mary Chain,
La Düsseldorf,
The Cramps,
Blancmange,
Sunsets and Hearts,
the Germs,
Marmalade,
Louis and Bebe Barron,
The Velvet Underground,
Sun Ra,
Arab on Radar,
Interpol,
Marc Almond,
Jerry Gold Smith,
Avey Tare,
Lou Reed,
Gang Green,
10cc,
cv313,
The Flesh Eaters,
The Tremeloes,
Major Organ And The Adding Machine,
Terror Squad Feat. Camron,
The Dave Clark Five,
Jeff Mills,
Los Fastidios,
A Certain Ratio,
Arthur Verocai,
Judy Mowatt,
Public Image Ltd.,
Brass Construction,
Ronnie Foster,
Susan Cadogan,
Fifty Foot Hose,
The Stooges,
The Buckinghams,
Soft Machine,
Lizzy Mercier Descloux,
Roy Ayers,
Japan,
Jimmy McGriff,
Nation of Ulysses,
Gil Scott-Heron & Brian Jackson,
Letta Mbulu,
The Real Kids,
Lou Christie,
Peter & Gordon,
Reuben Wilson,
The Monks, The Monks, The Monks, The Monks.
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.