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 Syria and from Sao Paulo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Cairo and Lyon.
I'm losing my edge to the art-school Columbus 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 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 Funkadelic to the grunge kids.
I played it at Cafe Wha.
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 The Dead C. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Fluxion record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Pere Ubu,
The Slits,
The Count Five,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sad Lovers and Giants,
Fear,
Zapp,
Art Ensemble Of Chicago,
Marc Almond,
Nirvana,
The Human League,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Los Fastidios,
Soft Machine,
Outsiders,
Cal Tjader,
Strawberry Alarm Clock,
Black Flag,
Ossler,
the Fania All-Stars,
Maleditus Sound,
Connie Case,
Hot Snakes,
Beasts of Bourbon,
The West Coast Pop Art Experimental Band,
Franke,
The Tremeloes,
Cameo,
Graham Central Station,
Second Layer,
Tomorrow,
The Mighty Diamonds,
Toni Rubio,
Notorious BIG live in Amsterdam,
The Knickerbockers,
Black Sheep,
Selector Dub Narcotic,
Kevin Saunderson,
10cc,
Soul II Soul,
Juan Atkins,
Eyeless In Gaza,
In Retrospect,
Rapeman,
Dennis Brown,
Audionom,
Kauko Röyhkä ja Narttu,
X-102,
Circle Jerks,
Janne Schatter,
Michelle Simonal,
Lou Christie,
MC5,
Bluetip,
Scion,
The Techniques,
Talk Talk,
Soul Sonic Force,
London Community Gospel Choir,
Chris & Cosey,
48th St. Collective,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.