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 Haiti and from Stockholm.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Stockholm.
I'm losing my edge to the art-school Tehran 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 oboe 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 Japan to the rock 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 The Searchers. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Magazine,
Cecil Taylor,
Louis and Bebe Barron,
Sonic Youth,
Youth Brigade,
Fat Boys,
Glambeats Corp.,
The Gladiators,
Television Personalities,
Echo & the Bunnymen,
Donny Hathaway,
Main Source,
Todd Rundgren,
Scientists,
Pole,
Roxette,
Delon & Dalcan,
Joe Finger,
Zapp,
Eric Dolphy,
Bobby Sherman,
The Electric Prunes,
Jeff Lynne,
Pantaleimon,
D'Angelo,
The Moleskins,
Girls At Our Best!,
The Evens,
Bush Tetras,
The Music Machine,
Guru Guru,
Nik Kershaw,
Chrome,
Rotary Connection,
Angry Samoans,
Sugar Minott,
Bobby Hutcherson,
Popol Vuh,
Carl Craig,
Bobby Byrd,
Skaos,
Pete Rock & C.L. Smooth,
Siglo XX,
Amon Düül,
Andrew Ashong & Theo Parrish,
Minny Pops,
Avey Tare & Kría Brekkan,
New York Dolls,
Icehouse,
Pierre Henry,
Gastr Del Sol,
The Cosmic Jokers,
Slick Rick,
The Angels of Light,
The Shadows of Knight,
Shuggie Otis,
In Retrospect,
Harmonia,
The Motions,
Ludus,
Underground Resistance,
Camouflage, Camouflage, Camouflage, Camouflage.
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.