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 Micronesia and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Seeds to the punk kids.
I played it at Cafe Wha.
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 David Bowie. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins 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?
Davy DMX,
Underground Resistance,
Delon & Dalcan,
K-Klass,
Notorious Big And Bone Thugs,
Pantaleimon,
Deepchord,
Eric Dolphy,
Masters at Work,
10cc,
Mark Hollis,
Fifty Foot Hose,
Public Enemy,
The American Breed,
Susan Cadogan,
Neu!,
The Real Kids,
Grandmaster Flash and the Furious Five,
Pantytec,
Scion,
The Sound,
Byron Stingily,
Neil Young,
Pylon,
Whodini,
Marvin Gaye,
Roxette,
Y Pants,
Alton Ellis,
Von Mondo,
Liliput,
Bizarre Inc.,
Dorothy Ashby,
Au Pairs,
a-ha,
The Associates,
Henry Cow,
The Velvet Underground,
Nick Cave & The Bad Seeds,
Gang of Four,
Grauzone,
Lebanon Hanover,
The Knickerbockers,
Bobby Womack,
Pet Shop Boys,
Sun City Girls,
The Smiths,
the Slits,
The Fortunes,
Fort Wilson Riot,
Boredoms,
Depeche Mode,
The Toasters,
Angry Samoans,
Warsaw,
Soft Cell,
FM Einheit,
Sex Pistols,
Ohio Players,
Public Image Ltd.,
Anakelly,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.