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 Kazakhstan and from Milan.
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 1962 to 1972.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Manchester 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 United States of America to the jazz 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 Nas. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Colin Newman,
Theoretical Girls,
Joy Division,
The Golliwogs,
Arab on Radar,
Monks,
Peter & Gordon,
Avey Tare,
Surgeon,
Selector Dub Narcotic,
The Toasters,
Sex Pistols,
Technova,
The Chocolate Watch Band,
The Moody Blues,
Kayak,
Frankie Knuckles,
Q and Not U,
The Cramps,
Dark Day,
Pharaoh Sanders and the Fire Engines,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Zapp,
James White and The Blacks,
Los Fastidios,
The Move,
Gabor Szabo,
Bobby Womack,
AZ,
the Bar-Kays,
The Durutti Column,
The Names,
Peter and Kerry,
Television,
Gang of Four,
Super Lover Cee & Casanova Rud,
The Offenders,
Pantaleimon,
Kaleidoscope,
Boz Scaggs,
MC5,
Dual Sessions,
Moebius,
Fear,
Toni Rubio,
Davy DMX,
Drive Like Jehu,
Jacques Brel,
T.S.O.L.,
The Slackers,
Wire,
Marc Almond,
Oppenheimer Analysis,
Ultravox,
48th St. Collective,
Moss Icon,
Eric Dolphy,
Rapeman,
Chrome,
The Tremeloes,
Tom Boy,
Sonic Youth,
Swans, Swans, Swans, Swans.
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.