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 Guinea and from Accra.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Bremen and Calgary.
I'm losing my edge to the art-school Milan 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 1980 at the first Cybotron practice in a loft in Detroit.
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 Goldenarms to the electroclash kids.
I played it at the Troubador.
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 Infiniti. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Gregory Isaacs 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Avey Tare's Slasher Flicks,
Radio Birdman,
DJ Sneak,
U.S. Maple,
Supertramp,
Blancmange,
The Monochrome Set,
Kings Of Tomorrow,
The J.B.'s,
The Star Department,
This Heat,
Hoover,
Eve St. Jones,
Freddie Wadling,
Warren Ellis,
Marmalade,
Pagans,
Radiohead,
Kool G Rap & DJ Polo,
Flash Fearless,
Magma,
Deadbeat,
Circle Jerks,
Marvin Gaye,
Wire,
Hot Snakes,
Eyeless In Gaza,
Lee Hazlewood,
Gil Scott-Heron & Brian Jackson,
Bluetip,
X-102,
Angry Samoans,
The Leaves,
The Gories,
Don Cherry,
AZ,
Mary Jane Girls,
Donny Hathaway,
Minny Pops,
Half Japanese,
The Skatalites,
ABBA,
Lalann,
the Swans,
Tomorrow,
Hasil Adkins,
Dave Gahan,
Grauzone,
Mad Mike,
The Kinks,
Lou Reed & Metallica,
New York Dolls,
Bang On A Can,
H. Thieme,
Smog,
Ludus,
The Happenings,
Mandrill,
Rites of Spring,
Gerry Rafferty,
Notorious Big And Bone Thugs,
The Invisible, The Invisible, The Invisible, The Invisible.
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.