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 Qatar and from Manila.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Cairo and Seoul.
I'm losing my edge to the art-school Paris 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the organ 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 Standells to the grime 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 Knickerbockers. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Ultravox,
Chris Corsano,
Soft Cell,
Gil Scott-Heron and Jamie xx,
Public Enemy,
Pole,
the Fania All-Stars,
Heavy D & The Boyz,
Little Man,
Arcadia,
Grauzone,
Connie Case,
Groovy Waters,
Visage,
Organ,
Wally Richardson,
The Sonics,
cv313,
Spoonie Gee,
The Gladiators,
Bobbi Humphrey,
Maurizio,
The United States of America,
Cabaret Voltaire,
Beasts of Bourbon,
The Doors,
The Gories,
The Stooges,
MDC,
The Shadows of Knight,
Sugar Minott,
Gian Franco Pienzio,
In Retrospect,
Jimmy McGriff,
T.S.O.L.,
Amazonics,
Cal Tjader,
Selector Dub Narcotic,
The Techniques,
Don Cherry,
Technova,
The Blues Magoos,
Scratch Acid,
Faust,
Kevin Saunderson,
Lightning Bolt,
Mary Jane Girls,
Underground Resistance,
Brick,
Kango’s Stein Massive,
Intrusion,
Mark Hollis,
Outsiders,
Monolake,
Mo-Dettes,
Girls At Our Best!,
Monks,
Wasted Youth,
The Divine Comedy,
China Crisis,
Tears for Fears,
Albert Ayler,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.