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 Jakarta.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and New York.
I'm losing my edge to the art-school Bologna 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare 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 Swans to the jazz kids.
I played it at the Troubador.
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 Lafayette Afro Rock Band. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work 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?
Robert Hood,
Ten City,
Bang on a Can All-Stars,
The Doobie Brothers,
Magazine,
The Grass Roots,
Buzzcocks,
Icehouse,
The Alarm Clocks,
Drive Like Jehu,
Johnny Clarke,
Mantronix,
Larry & the Blue Notes,
Bobbi Humphrey,
Saccharine Trust,
Joy Division,
E-Dancer,
Mr. Review,
Sun City Girls,
Negative Approach,
The Move,
Surgeon,
Kango’s Stein Massive,
Jesper Dahlback,
Aural Exciters,
Pantytec,
Lower 48,
Nils Olav,
The Associates,
Siouxsie and the Banshees,
Max Romeo,
Pulsallama,
Average White Band,
Nation of Ulysses,
Judy Mowatt,
Moss Icon,
The Litter,
John Cale,
Pantaleimon,
The Sound,
Albert Ayler,
Danielle Patucci,
Gang Green,
X-Ray Spex,
Intrusion,
Deutsch Amerikanische Freundschaft,
Scientists,
Lalann,
Roy Ayers,
Eve St. Jones,
Eddi Front,
The Star Department,
Gil Scott-Heron & Brian Jackson,
Kerrie Biddell,
Joyce Sims,
John Coltrane,
Rufus Thomas,
Soul II Soul,
Hot Snakes,
Lightning Bolt,
Hoover,
Be Bop Deluxe,
Pere Ubu,
Letta Mbulu, Letta Mbulu, Letta Mbulu, Letta Mbulu.
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.