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 Singapore and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1966 to 1971.
I'm losing my edge.
To all the kids in Halifax and Mexico City.
I'm losing my edge to the art-school Bologna 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 synthesizer 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 Stockholm Monsters to the jazz kids.
I played it at Trash.
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 Sonic Youth. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Oblivians,
Boredoms,
the Bar-Kays,
Outsiders,
Rapeman,
Kauko Röyhkä ja Narttu,
Larry & the Blue Notes,
Junior Murvin,
Scratch Acid,
Eric Dolphy,
Babytalk,
Eden Ahbez,
La Düsseldorf,
F. McDonald,
Art Ensemble Of Chicago,
Letta Mbulu,
Scan 7,
Fat Boys,
The Grass Roots,
Marc Almond,
The Fuzztones,
The Misunderstood,
Moebius,
Orchestral Manoeuvres in the Dark,
Tomorrow,
Zapp,
Terror Squad Feat. Camron,
The Alarm Clocks,
The Men They Couldn't Hang,
John Holt,
Kayak,
Los Fastidios,
Patti Smith,
Pantaleimon,
Fear,
The West Coast Pop Art Experimental Band,
Royal Trux,
The Fugs,
The Real Kids,
Minny Pops,
China Crisis,
The Angels of Light,
Ludus,
Eli Mardock,
Teenage Jesus and the Jerks,
The Cosmic Jokers,
Scott Walker + Sunn O))),
Average White Band,
The Monks,
Don Cherry,
Fort Wilson Riot,
This Heat,
Connie Case,
Interpol,
Throbbing Gristle,
The Invisible,
Bobby Hutcherson,
Archie Shepp,
Reagan Youth,
Heavy D & The Boyz,
Donny Hathaway,
Neu!,
Liliput,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.