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 Senegal and from New York.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Milan and Bremen.
I'm losing my edge to the art-school Bologna 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Oneida to the rock 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 Swans. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lalo Schifrin record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Richard Hell and the Voidoids,
Ten City,
Aaron Thompson,
The Neon Judgement,
The Doors,
Donny Hathaway,
Main Source,
Severed Heads,
Swell Maps,
Siglo XX,
Inner City,
Gong,
Lakeside,
The American Breed,
Wighnomy Brothers & Robag Wruhme,
Beasts of Bourbon,
Arthur Verocai,
The Seeds,
Television,
The Pretty Things,
Robert Görl,
Spoonie Gee,
Jandek,
Peter and Kerry,
Camouflage,
Maleditus Sound,
The Mighty Diamonds,
These Immortal Souls,
Dennis Brown,
The Gap Band,
Captain Beefheart & His Magic Band,
Marcia Griffiths,
Gang Green,
John Lydon,
Bauhaus,
Roy Ayers Ubiquity,
Wasted Youth,
Liaisons Dangereuses,
The Electric Prunes,
Minutemen,
Magazine,
June Days,
The Angels of Light,
The Evens,
Slave,
Bill Near,
Adolescents,
Bang on a Can All-Stars,
The Fortunes,
The Zeros,
The Walker Brothers,
Jacob Miller,
The Five Americans,
The Shadows of Knight,
The Cowsills,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.