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 Israel and from Columbus.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Bremen and Delhi.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes 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 Junior Murvin to the punk kids.
I played it at the 40 Watt.
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 James Chance & The Contortions. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
The Smoke,
Babytalk,
The West Coast Pop Art Experimental Band,
ABBA,
The Alarm Clocks,
The Blackbyrds,
Clear Light,
It's A Beautiful Day,
The Chocolate Watch Band,
Monks,
Bang on a Can All-Stars,
Aloha Tigers,
Smog,
The Monochrome Set,
Carl Craig,
D'Angelo,
Hardrive,
Japan,
Nick Cave & The Bad Seeds,
Boogie Down Productions,
Quantec,
The Real Kids,
Sound Behaviour,
Surgeon,
Max Romeo,
Wighnomy Brothers & Robag Wruhme,
Althea and Donna,
Josef K,
The Pretty Things,
Sexual Harrassment,
Tears for Fears,
Sunsets and Hearts,
Warsaw,
Andrew Ashong & Theo Parrish,
The Cure,
New Order,
Chrome,
Faraquet,
Larry & the Blue Notes,
Q and Not U,
Tim Buckley,
Alison Limerick,
Terrestrial Tones,
X-102,
Groovy Waters,
Duran Duran,
Peter and Kerry,
Ultimate Spinach,
Spoonie Gee,
Fad Gadget,
Alphaville,
Pole,
Kas Product,
Siouxsie and the Banshees,
Marcia Griffiths,
Scion,
Jerry Gold Smith,
Strawberry Alarm Clock,
Desert Stars,
The Blues Magoos,
Index,
Röyhkä ja Rättö ja Lehtisalo,
The Black Dice,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.