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 Brazil and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Delhi 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 linndrum 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 Bronski Beat to the disco kids.
I played it at the 40 Watt.
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 West Coast Pop Art Experimental Band. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Subhumans 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 '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free 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?
Glenn Branca,
MDC,
The Velvet Underground,
the Normal,
Underground Resistance,
Albert Ayler,
Gichy Dan,
Accadde A,
Rod Modell,
The Flesh Eaters,
Kings Of Tomorrow,
Alton Ellis,
Rekid,
Nico,
Shoche,
Robert Görl,
the Fania All-Stars,
Von Mondo,
Hasil Adkins,
Michelle Simonal,
E-Dancer,
Half Japanese,
The Music Machine,
Pete Rock & C.L. Smooth,
The Move,
Nik Kershaw,
World's Most,
The Leaves,
Terry Callier,
The Sisters of Mercy,
The Cosmic Jokers,
The Monochrome Set,
Tim Buckley,
Babytalk,
Terrestrial Tones,
The Names,
Model 500,
The United States of America,
The Stooges,
Slick Rick,
Kurtis Blow,
The Mummies,
Patti Smith,
Hardrive,
Faust,
Art Ensemble Of Chicago,
the Slits,
Altered Images,
Angels of Light & Akron/Family,
Arab on Radar,
Outsiders,
10cc,
Ultravox,
Mars,
Nation of Ulysses,
Dark Day,
The Grass Roots,
Bill Wells,
Teenage Jesus and the Jerks,
Cal Tjader,
Sex Pistols,
Deepchord,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.