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 Ukraine and from Bologna.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Columbus and Taipei.
I'm losing my edge to the art-school Portland 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 Nile Rodgers 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 Count Five to the disco 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 West Coast Pop Art Experimental Band. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Stereo Dub 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 güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Faust,
Scan 7,
Hardrive,
Groovy Waters,
Sound Behaviour,
X-Ray Spex,
Susan Cadogan,
Eddi Front,
Thee Headcoats,
Sly & The Family Stone,
Terry Callier,
The Durutti Column,
The Doors,
Sun City Girls,
David McCallum,
Quadrant,
Duran Duran,
Porter Ricks,
Loose Ends,
The Buckinghams,
Aloha Tigers,
Electric Prunes,
Supertramp,
Hoover,
Audionom,
The Flesh Eaters,
Blake Baxter,
L. Decosne,
Teenage Jesus and the Jerks,
Agent Orange,
Cymande,
Thompson Twins,
Pantaleimon,
The Toasters,
Avey Tare & Kría Brekkan,
One Last Wish,
Icehouse,
A Flock of Seagulls,
Blossom Toes,
Scott Walker,
Erykah Badu,
Sarah Menescal,
the Germs,
Chrome,
H. Thieme,
Joey Negro,
Saccharine Trust,
Barry Ungar,
Neil Young & Crazy Horse,
The Monochrome Set,
Camron Feat. Memphis Bleek And Beenie Seigel,
Spandau Ballet,
The Sound,
The Star Department,
Davy DMX,
Jandek,
Soft Machine,
Joe Smooth,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Anakelly, Anakelly, Anakelly, Anakelly.
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.