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 Saudi Arabia and from Copenhagen.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 linndrum 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 Human League to the jazz kids.
I played it at the Astoria.
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 Tommy Roe. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Kevin Saunderson,
The Monochrome Set,
Country Teasers,
Joe Finger,
James White and The Blacks,
Q65,
Mary Jane Girls,
Mantronix,
One Last Wish,
Parry Music,
Barbara Tucker,
Spandau Ballet,
The Sound,
Model 500,
Deutsch Amerikanische Freundschaft,
Traffic Nightmare,
Sparks,
The Stooges,
Gang Gang Dance,
David McCallum,
Cymande,
Echo & the Bunnymen,
Theoretical Girls,
Lou Reed & John Cale,
Johnny Clarke,
Scion,
Janne Schatter,
Donny Hathaway,
Notorious Big And Bone Thugs,
The Mojo Men,
Donald Byrd,
A Certain Ratio,
In Retrospect,
The Young Rascals,
Nick Cave & The Bad Seeds,
Stockholm Monsters,
Roger Hodgson,
Pierre Henry,
Albert Ayler,
Eurythmics,
Steve Hackett,
Carl Craig,
Ralphi Rosario,
Thompson Twins,
Junior Murvin,
Barry Ungar,
Blake Baxter,
Mr. Review,
Television,
Ronnie Foster,
Teenage Jesus and the Jerks,
Byron Stingily,
The Dead C,
Warsaw,
Tres Demented,
Letta Mbulu,
The J.B.'s,
Bobby Byrd,
Delon & Dalcan,
Metal Thangz,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.