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 Mongolia and from Delhi.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Bremen 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar 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 Livin' Joy to the crunk kids.
I played it at the Crocodile.
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 Unrelated Segments. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Swell Maps 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
John Foxx,
Rufus Thomas,
Camouflage,
The Doors,
Skriet,
Pylon,
The Blackbyrds,
Minor Threat,
Essential Logic,
Gong,
The Cowsills,
Negative Approach,
Notorious BIG live in Amsterdam,
Echo & the Bunnymen,
Make Up,
Be Bop Deluxe,
Arab on Radar,
Basic Channel,
Eden Ahbez,
Isaac Hayes,
Underground Resistance,
James White and The Blacks,
The Moody Blues,
Harpers Bizarre,
Blake Baxter,
Dual Sessions,
Moebius,
Aswad,
Alice Coltrane,
DJ Style,
Mantronix,
Dark Day,
Unwound,
Matthew Halsall,
Flipper,
Motorama,
One Last Wish,
EPMD,
Laurel Aitken,
Lou Reed,
Althea and Donna,
the Fania All-Stars,
Model 500,
Main Source,
Major Organ And The Adding Machine,
DNA,
the Bar-Kays,
Monolake,
De La Soul & Jungle Brothers,
Massinfluence,
Cameo,
The Fall,
Grandmaster Flash and the Furious Five,
The Victims,
The Tremeloes,
Scrapy,
Popol Vuh,
The Wake,
Radiohead,
Rhythm & Sound,
Sexual Harrassment,
PIL, PIL, PIL, PIL.
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.