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 Denmark and from Jakarta.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 sitar 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 The Dirtbombs to the disco kids.
I played it at the Crocodile.
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 Nico. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Dorothy Ashby,
Scion,
Kool G Rap & DJ Polo,
Dawn Penn,
Sun Ra Arkestra,
Subhumans,
Soul Sonic Force,
Art Ensemble Of Chicago,
Rakim,
Theoretical Girls,
The Gap Band,
The Blackbyrds,
The Skatalites,
The Saints,
Sun City Girls,
Prince Buster,
Alton Ellis,
Lou Christie,
Intrusion,
Essential Logic,
A Certain Ratio,
Fat Boys,
Sister Nancy,
Morten Harket,
Bobby Byrd,
John Lydon,
Bauhaus,
The Golliwogs,
the Human League,
Alison Limerick,
The New Christs,
Rowland S Howard / Lydia Lunch,
Gang Starr,
Louis and Bebe Barron,
Lou Reed,
The Five Americans,
Joe Smooth,
Ultimate Spinach,
Glambeats Corp.,
Arcadia,
Japan,
Peter & Gordon,
The Gladiators,
Clear Light,
James White and The Blacks,
Quadrant,
Swans,
The West Coast Pop Art Experimental Band,
The Red Krayola,
Erasure,
Outsiders,
Eric Copeland,
Bluetip,
Kerri Chandler,
The Litter,
The Last Poets,
Eve St. Jones,
Kango’s Stein Massive,
Trumans Water,
The Dead C,
cv313, cv313, cv313, cv313.
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.