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 Nauru and from Johannesburg.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Seoul and Bremen.
I'm losing my edge to the art-school Jakarta 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the organ 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 The Birthday Party to the jazz 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 Eddi Front. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
The Men They Couldn't Hang,
Anakelly,
The Sound,
Kings Of Tomorrow,
Boz Scaggs,
Juan Atkins,
Dennis Brown,
Albert Ayler,
Motorama,
Isaac Hayes,
Funkadelic,
Television,
Jeru the Damaja,
Smog,
Chrome,
Rahsaan Roland Kirk,
The Flesh Eaters,
Ronan,
The Dave Clark Five,
Erasure,
Lalo Schifrin,
Talk Talk,
Kerri Chandler,
Graham Central Station,
Nation of Ulysses,
Bang on a Can All-Stars,
Lalann,
Ponytail,
Oppenheimer Analysis,
Index,
Jacob Miller,
Cybotron,
One Last Wish,
Bootsy's Rubber Band,
Derrick Morgan,
Ultra Naté,
China Crisis,
Sound Behaviour,
Los Fastidios,
Robert Hood,
The Fortunes,
The Black Dice,
Rufus Thomas,
Fort Wilson Riot,
Quadrant,
Duran Duran,
Q and Not U,
The Gladiators,
Bizarre Inc.,
Au Pairs,
Rhythim Is Rhythim,
Scrapy,
Leonard Cohen,
F. McDonald,
Judy Mowatt,
T.S.O.L.,
Neu!,
Donald Byrd,
UT,
Soul Sonic Force,
EPMD,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.