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 Uzbekistan and from Cairo.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Jakarta 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 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 Eyeless In Gaza to the crunk 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 Fifty Foot Hose. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Ralphi Rosario 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 '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Swell Maps,
Mr. Review,
the Slits,
Camron Feat. Jay Z And Juelz,
Television Personalities,
Mars,
UT,
Bootsy's Rubber Band,
Warren Ellis,
Johnny Clarke,
Kurtis Blow,
Cheater Slicks,
The Stooges,
The Saints,
The Fire Engines,
A Certain Ratio,
Slick Rick,
The Count Five,
The Smoke,
Pere Ubu,
Faust,
the Normal,
Matthew Halsall,
Flamin' Groovies,
Lakeside,
The Mighty Diamonds,
Crispian St. Peters,
Alphaville,
The Cosmic Jokers,
Selector Dub Narcotic,
Moby Grape,
Don Cherry,
Faraquet,
Gary Puckett & The Union Gap,
Todd Terry,
Graham Central Station,
Masters at Work,
Lalann,
Janne Schatter,
Los Fastidios,
The Move,
The Fuzztones,
the Soft Cell,
Maurizio,
Eden Ahbez,
Jerry Gold Smith,
The Trojans,
The Dirtbombs,
Marine Girls,
Royal Trux,
Quadrant,
Skarface,
Cabaret Voltaire,
Grandmaster Flash,
Flash Fearless,
Roxy Music,
Erasure,
Boogie Down Productions,
The Happenings,
Aaron Thompson,
Joyce Sims,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.