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 Hungary and from Tokyo.
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 Columbus and Salvador.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the sitar 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 Mandrill to the electroclash 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 Altered Images. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Motorama 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Faust,
Au Pairs,
The Wake,
Lou Christie,
Buzzcocks,
The Chocolate Watch Band,
Soul II Soul,
The Slits,
Soft Machine,
The Real Kids,
the Swans,
Flamin' Groovies,
The Beau Brummels,
The Sisters of Mercy,
Hot Snakes,
The Black Dice,
Rapeman,
Justin Hinds & The Dominoes,
Gong,
Rod Modell,
Reuben Wilson,
Hardrive,
Roxy Music,
Vainqueur,
Con Funk Shun,
Mr. Review,
KRS-One,
Bang on a Can All-Stars,
Agent Orange,
Porter Ricks,
Darondo,
Essential Logic,
The Remains,
Suicide,
World's Most,
Japan,
Lungfish,
Davy DMX,
The Walker Brothers,
Index,
John Holt,
The Modern Lovers,
Eric Dolphy,
the Association,
Neu!,
Nation of Ulysses,
Basic Channel,
The Smiths,
X-101,
Desert Stars,
Eve St. Jones,
Moss Icon,
Amon Düül,
The Fall,
Zapp,
Drexciya,
The Move,
Negative Approach,
Funkadelic,
Barbara Tucker,
Fear, Fear, Fear, Fear.
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.