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 Liechtenstein and from Lille.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Max Romeo to the disco kids.
I played it at the Spitz.
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 Fifty Foot Hose. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every R.M.O. 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
The Smoke,
Patti Smith,
Bobby Sherman,
Marc Almond,
Al Stewart,
Lafayette Afro Rock Band,
Blossom Toes,
48th St. Collective,
Ossler,
Aswad,
Rites of Spring,
Quantec,
Rahsaan Roland Kirk,
Bluetip,
Silicon Teens,
Excepter,
The Sisters of Mercy,
Slave,
Marvin Gaye,
Minor Threat,
Main Source,
Nick Cave & The Bad Seeds,
U.S. Maple,
The Jesus and Mary Chain,
John Lydon,
Gong,
Von Mondo,
The Count Five,
Hashim,
Sällskapet,
The Stooges,
the Swans,
The Associates,
Eurythmics,
Monks,
MDC,
Deakin,
Black Pus,
Kango’s Stein Massive,
Visage,
Tomorrow,
Little Man,
Althea and Donna,
Harmonia,
Johnny Clarke,
The Zeros,
Dual Sessions,
Terrestrial Tones,
Newcleus,
Heaven 17,
Bang On A Can,
Black Flag,
Absolute Body Control,
Sandy B,
Gregory Isaacs,
Marine Girls,
The Slackers,
Wally Richardson,
Barrington Levy,
Monolake, Monolake, Monolake, Monolake.
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.