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 Serbia and from New York.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1973.
I'm losing my edge.
To all the kids in New York and Stockholm.
I'm losing my edge to the art-school Paris 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 Grandmaster Flash to the grime kids.
I played it at CBGB's.
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 Minor Threat. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
Deepchord,
Lee Hazlewood,
The Motions,
The Victims,
Magma,
Gregory Isaacs,
Lalann,
Stereo Dub,
Piero Umiliani,
Section 25,
Das Ding,
Joensuu 1685,
Average White Band,
Electric Light Orchestra,
Porter Ricks,
Brick,
Harry Pussy,
Lakeside,
Hardrive,
Scratch Acid,
Matthew Bourne,
Altered Images,
Derrick Morgan,
Con Funk Shun,
Slick Rick,
Sandy B,
Liliput,
Eddi Front,
June Days,
Livin' Joy,
In Retrospect,
Wings,
X-101,
Saccharine Trust,
Red Lorry Yellow Lorry,
Moebius,
Visionaries,LMNO, T- Love & Iriscience,
Ornette Coleman,
David Bowie,
The Gun Club,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nas,
Absolute Body Control,
Pylon,
The Music Machine,
The Flesh Eaters,
Theoretical Girls,
Nils Olav,
Bill Near,
Kaleidoscope,
Nick Fraelich,
Beasts of Bourbon,
Babytalk,
Nick Cave & The Bad Seeds,
The Dead C,
Drexciya,
The Evens,
The United States of America,
Urselle,
Index,
Rahsaan Roland Kirk,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.