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 Morocco and from Edmonton.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school Mexico City 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Interpol to the funk kids.
I played it at the 40 Watt.
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 Thee Headcoats. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Grauzone 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
MDC,
Dead Boys,
Cabaret Voltaire,
Ituana,
Jerry's Kids,
Bizarre Inc.,
Soft Machine,
A Flock of Seagulls,
The Count Five,
These Immortal Souls,
Sun Ra Arkestra,
Man Parrish,
Altered Images,
Grandmaster Flash and the Furious Five,
Easy Going,
Young Marble Giants,
Anakelly,
Pylon,
Vaughan Mason & Crew,
Theoretical Girls,
Khruangbin,
Junior Murvin,
Isaac Hayes,
Gong,
Archie Shepp,
Hoover,
Toni Rubio,
Simply Red,
X-Ray Spex,
H. Thieme,
Icehouse,
Jerry Gold Smith,
Godley & Creme,
Don Cherry,
The Remains,
The Residents,
Brothers Johnson,
Barry Ungar,
The Motions,
Janne Schatter,
It's A Beautiful Day,
Richard Hell and the Voidoids,
The Slits,
Strawberry Alarm Clock,
Rowland S Howard / Lydia Lunch,
Vainqueur,
Skriet,
The Walker Brothers,
Charles Mingus,
Basic Channel,
Eyeless In Gaza,
Andrew Ashong & Theo Parrish,
Sad Lovers and Giants,
Ultravox,
Jacob Miller,
Davy DMX,
Funkadelic,
Zapp,
Gichy Dan,
Brick, Brick, Brick, Brick.
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.