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 Venezuela and from Woodstock.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Toronto and Salvador.
I'm losing my edge to the art-school Stockholm 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 Buzzcocks practice in a loft in Bolton.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Ash Ra Tempel to the jazz 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 The Men They Couldn't Hang. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Hot Snakes 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 an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
The Fugs,
Magma,
Glenn Branca,
Lou Reed,
The Invisible,
Average White Band,
The Last Poets,
Richard Hell and the Voidoids,
Derrick Morgan,
Blake Baxter,
Deepchord,
Ultravox,
Black Moon,
Boz Scaggs,
Sam Rivers,
A Flock of Seagulls,
Theoretical Girls,
Louis and Bebe Barron,
David McCallum,
Donald Byrd,
June Days,
The Moleskins,
The Doors,
The Detroit Cobras,
David Bowie,
Gastr Del Sol,
Gian Franco Pienzio,
Art Ensemble Of Chicago,
Roy Ayers,
8 Eyed Spy,
Lalann,
Yellowson,
Cal Tjader,
Letta Mbulu,
Pierre Henry,
Zapp,
Johnny Clarke,
Dawn Penn,
Bobbi Humphrey,
Idris Muhammad,
Ossler,
The Misunderstood,
Peter and Kerry,
Be Bop Deluxe,
Godley & Creme,
Hardrive,
World's Most,
Camouflage,
Major Organ And The Adding Machine,
the Fania All-Stars,
KRS-One,
The Happenings,
Pantaleimon,
The Men They Couldn't Hang,
Easy Going,
The Dead C,
The Mummies,
Robert Görl,
The Grass Roots,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.