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 Bhutan and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Halifax 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 chamberlin 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 Alison Limerick to the crunk kids.
I played it at the Roxy.
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 Roy Ayers Ubiquity. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
The Fugs,
Ornette Coleman,
Eric Dolphy,
Soft Cell,
The Golliwogs,
Judy Mowatt,
Deadbeat,
Drive Like Jehu,
Howard Jones,
Kaleidoscope,
Eli Mardock,
Avey Tare,
Pierre Henry,
The Fire Engines,
Fugazi,
The Cosmic Jokers,
These Immortal Souls,
Man Eating Sloth,
Swans,
Depeche Mode,
E-Dancer,
The Wake,
Chrome,
Lalo Schifrin,
Kas Product,
The Men They Couldn't Hang,
June Days,
Notorious Big And Bone Thugs,
Faust,
The Leaves,
Cluster,
Glenn Branca,
Newcleus,
Rowland S Howard / Lydia Lunch,
The Music Machine,
Quadrant,
10cc,
The Kinks,
The Searchers,
Gil Scott-Heron & Brian Jackson,
Public Enemy,
Louis and Bebe Barron,
Archie Shepp,
Gang Gang Dance,
Mars,
Sound Behaviour,
Gabor Szabo,
Wire,
Henry Cow,
Lou Reed,
Inner City,
Heaven 17,
Soft Machine,
Maleditus Sound,
Spandau Ballet,
Bill Wells,
Marvin Gaye,
Connie Case,
Brass Construction,
The Shadows of Knight,
The Monks,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.