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 Beijing.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
I'm losing my edge to the art-school Bremen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Severed Heads to the punk 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 Wolf Eyes. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Jeru the Damaja,
the Fania All-Stars,
Al Stewart,
Stetsasonic,
Kauko Röyhkä ja Narttu,
Public Enemy,
The Blues Magoos,
Minnie Riperton,
The Techniques,
The Mojo Men,
Swell Maps,
David Axelrod,
The Litter,
David Bowie,
The Pop Group,
Supertramp,
Fort Wilson Riot,
Kings Of Tomorrow,
The Sisters of Mercy,
Lyres,
T.S.O.L.,
Siouxsie and the Banshees,
Kaleidoscope,
the Human League,
Reuben Wilson,
Sound Behaviour,
Harpers Bizarre,
Franke,
Barry Ungar,
Cymande,
8 Eyed Spy,
Lee Hazlewood,
Bluetip,
It's A Beautiful Day,
Orchestral Manoeuvres in the Dark,
48th St. Collective,
Faraquet,
Tim Buckley,
The Men They Couldn't Hang,
Sarah Menescal,
Jerry's Kids,
The Smiths,
Black Moon,
Stiv Bators,
Gang Gang Dance,
Circle Jerks,
The Slits,
Fluxion,
Black Bananas,
Television Personalities,
Adolescents,
Iggy Pop,
Cecil Taylor,
Inner City,
Fatback Band,
Alton Ellis,
Young Marble Giants,
The Victims,
Aural Exciters,
Selector Dub Narcotic,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.