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 Namibia and from Sao Paulo.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Taipei and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Electric Prunes to the disco kids.
I played it at the Crocodile.
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 Lebanon Hanover. All the underground hits.
All Pole tracks. I heard you have a vinyl of every The Saints record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Johnny Osbourne,
Brand Nubian,
Severed Heads,
New Age Steppers,
Cecil Taylor,
Kings Of Tomorrow,
In Retrospect,
Bobby Byrd,
Alice Coltrane,
F. McDonald,
Moebius,
Camron Feat. Jay Z And Juelz,
Hardrive,
The Gories,
Johnny Clarke,
James Chance & The Contortions,
The Monks,
PIL,
Arab on Radar,
Grandmaster Flash and the Furious Five,
Manfred Mann's Earth Band,
The Human League,
Swans,
Section 25,
This Heat,
Whodini,
Rosa Yemen,
Pharaoh Sanders and the Fire Engines,
U.S. Maple,
Index,
Traffic Nightmare,
The Happenings,
Kango’s Stein Massive,
Al Stewart,
Visage,
The Sound,
Stiv Bators,
The J.B.'s,
Toni Rubio,
Erasure,
Hasil Adkins,
Eve St. Jones,
The Electric Prunes,
The Selecter,
Lyres,
Scan 7,
JFA,
Bobby Hutcherson,
Rufus Thomas,
Nico,
Neu!,
Television Personalities,
The Sonics,
Godley & Creme,
Cheater Slicks,
Glambeats Corp.,
Country Teasers,
The Count Five,
Pierre Henry,
Monks,
Grandmaster Flash,
Josef K,
Eden Ahbez,
Roxette, Roxette, Roxette, Roxette.
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.