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 Bolivia and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Jakarta.
I'm losing my edge to the art-school Salvador 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 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 Camouflage to the grunge kids.
I played it at the Astoria.
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 Japan. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every The Searchers record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Freddie Wadling,
Eden Ahbez,
Roy Ayers,
Porter Ricks,
Be Bop Deluxe,
David McCallum,
Lee Hazlewood,
Sex Pistols,
Soul Sonic Force,
Matthew Halsall,
Kango’s Stein Massive,
The Real Kids,
Rowland S Howard / Lydia Lunch,
The Music Machine,
Echo & the Bunnymen,
Grey Daturas,
Cecil Taylor,
The Sisters of Mercy,
The Doobie Brothers,
The Alarm Clocks,
Drexciya,
Agent Orange,
Ultravox,
The Mighty Diamonds,
Reagan Youth,
Subhumans,
Rapeman,
Main Source,
Derrick May,
Ash Ra Tempel,
Negative Approach,
Outsiders,
Sunsets and Hearts,
Agitation Free,
8 Eyed Spy,
The Skatalites,
Kas Product,
DNA,
The Neon Judgement,
Gang Starr,
Crash Course in Science,
Nik Kershaw,
Audionom,
Oneida,
Kerrie Biddell,
The Techniques,
Trumans Water,
Bronski Beat,
Kayak,
Delon & Dalcan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aural Exciters,
Gary Puckett & The Union Gap,
Aaron Thompson,
Rekid,
Sexual Harrassment,
Scratch Acid,
Lou Reed,
Roxette,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.