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 Germany and from Salvador.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Houston and Edmonton.
I'm losing my edge to the art-school Toronto 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 güiro 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 Gil Scott-Heron & Brian Jackson to the jazz kids.
I played it at the 40 Watt.
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 Goldenarms. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every David Bowie 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
Severed Heads,
Dead Boys,
Con Funk Shun,
Tres Demented,
Johnny Osbourne,
Neu!,
Saccharine Trust,
Kool G Rap & DJ Polo,
Patti Smith,
Bush Tetras,
Arab on Radar,
Warren Ellis,
Country Teasers,
Art Ensemble Of Chicago,
Cybotron,
The Busters,
The Wake,
Qualms,
Mantronix,
The J.B.'s,
Procol Harum,
Kaleidoscope,
Parry Music,
Thee Headcoats,
Brothers Johnson,
Essential Logic,
Chrome,
kango's stein massive,
The Remains,
Marmalade,
Massinfluence,
The Searchers,
Franke,
Dark Day,
New York Dolls,
Agent Orange,
Gang Gang Dance,
Minnie Riperton,
Aaron Thompson,
Lebanon Hanover,
DeepChord presents Echospace,
Ultravox,
Basic Channel,
Main Source,
The Vogues,
Make Up,
Suburban Knight,
KRS-One,
Lightning Bolt,
Nick Cave & The Bad Seeds,
The Five Americans,
Pet Shop Boys,
Agitation Free,
X-Ray Spex,
Sad Lovers and Giants,
The Kinks,
The Pop Group,
Fad Gadget,
London Community Gospel Choir,
the Normal,
Wire,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.