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 Laos and from Accra.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Manila and London.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin 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 The Move to the disco kids.
I played it at Trash.
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 Slick Rick. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal grunge 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 rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a N.O.R.E. Featuring Pharrell record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
FM Einheit,
the Slits,
Bang on a Can All-Stars,
The Techniques,
F. McDonald,
Roxy Music,
Reagan Youth,
Banda Bassotti,
Eric Dolphy,
Zero Boys,
Jeru the Damaja,
A Flock of Seagulls,
Ultramagnetic MC's,
Bronski Beat,
Freddie Wadling,
Brick,
Letta Mbulu,
Liaisons Dangereuses,
Icehouse,
The Last Poets,
Dennis Brown,
John Foxx,
The Sonics,
The Blues Magoos,
Qualms,
Alice Coltrane,
Warsaw,
The Count Five,
The Raincoats,
Liliput,
Derrick May,
Mad Mike,
a-ha,
Glenn Branca,
Can,
Ultravox,
Soul II Soul,
Monolake,
Nik Kershaw,
David McCallum,
Kayak,
Lonnie Liston Smith,
The Smoke,
MDC,
Jacob Miller,
The Walker Brothers,
Wolf Eyes,
Los Fastidios,
Susan Cadogan,
Little Man,
Bush Tetras,
Stockholm Monsters,
Sixth Finger,
Richard Hell and the Voidoids,
Deepchord,
Ronnie Foster,
Blake Baxter,
Soulsonic Force,
Hardrive,
T. Rex,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.