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 Monaco and from Mexico City.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1977.
I'm losing my edge.
To all the kids in Tehran and Stockholm.
I'm losing my edge to the art-school Lille 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 arpeggiator 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 Slits to the techno 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 John Lydon. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Jacob Miller,
The Slits,
Stetsasonic,
Man Parrish,
The Five Americans,
The Sisters of Mercy,
Iggy Pop,
The Doobie Brothers,
John Holt,
Nik Kershaw,
Brothers Johnson,
Grandmaster Flash and the Furious Five,
Mo-Dettes,
Crime,
Rakim,
David McCallum,
Sarah Menescal,
Parry Music,
Duran Duran,
The Cramps,
Rapeman,
Bizarre Inc.,
Animal Collective,
Kevin Saunderson,
Connie Case,
Negative Approach,
Oppenheimer Analysis,
Traffic Nightmare,
Kauko Röyhkä ja Narttu,
Super Lover Cee & Casanova Rud,
Cybotron,
Marine Girls,
The Dirtbombs,
Aswad,
Sandy B,
Sight & Sound,
DeepChord presents Echospace,
Lindisfarne,
Stockholm Monsters,
The Cowsills,
The Young Rascals,
Rowland S Howard / Lydia Lunch,
Yusef Lateef,
Rekid,
Alphaville,
Justin Hinds & The Dominoes,
Ultramagnetic MC's,
Big Daddy Kane,
Vaughan Mason & Crew,
Marcia Griffiths,
Peter Gordon & Love of Life Orchestra,
Agent Orange,
The Divine Comedy,
EPMD,
Smog,
Bill Wells,
Scientists,
The Walker Brothers,
James White and The Blacks,
Interpol, Interpol, Interpol, Interpol.
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.