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 Finland and from Lille.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 Black Pus to the grunge kids.
I played it at the Astoria.
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 Franke. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every Howard Jones 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 '80s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Tubeway Army,
Khruangbin,
Sly & The Family Stone,
the Swans,
Bauhaus,
Oneida,
Louis and Bebe Barron,
The Knickerbockers,
Excepter,
The Peanut Butter Conspiracy,
Minutemen,
Sandy B,
Soul Sonic Force,
8 Eyed Spy,
Traffic Nightmare,
Crime,
Heavy D & The Boyz,
Kaleidoscope,
Gian Franco Pienzio,
Bluetip,
Mo-Dettes,
Supertramp,
Second Layer,
Godley & Creme,
Anthony Braxton,
Letta Mbulu,
The Real Kids,
Stockholm Monsters,
Charles Mingus,
Blake Baxter,
Grey Daturas,
Gary Puckett & The Union Gap,
Radio Birdman,
De La Soul & Jungle Brothers,
Lafayette Afro Rock Band,
Ornette Coleman,
B.T. Express,
Hardrive,
Sparks,
The J.B.'s,
Kerrie Biddell,
Derrick May,
The Birthday Party,
The Residents,
Liaisons Dangereuses,
The Grass Roots,
Bootsy's Rubber Band,
Moby Grape,
Gastr Del Sol,
The Raincoats,
Cluster,
The Pop Group,
the Human League,
Marvin Gaye,
Rapeman,
Sarah Menescal,
A Flock of Seagulls,
Deepchord,
The Sonics,
Youth Brigade,
Tom Boy,
The Remains,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.