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 Zambia and from Tehran.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Philadelphia 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the chamberlin 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 Lightning Bolt to the punk kids.
I played it at the Spitz.
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 Last Poets. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Oblivians,
June Days,
Captain Beefheart & His Magic Band,
Parry Music,
Arcadia,
Kings Of Tomorrow,
Pole,
Gabor Szabo,
Iggy Pop,
Black Sheep,
Stereo Dub,
Sällskapet,
The Techniques,
Intrusion,
The Monks,
Liliput,
Scott Walker,
Radiopuhelimet,
Pylon,
Amazonics,
the Human League,
Gil Scott-Heron and Jamie xx,
Sex Pistols,
One Last Wish,
Fifty Foot Hose,
The Fire Engines,
Soul II Soul,
Joy Division,
Buzzcocks,
De La Soul & Jungle Brothers,
The Zeros,
E-Dancer,
The Buckinghams,
JFA,
Boogie Down Productions,
Major Organ And The Adding Machine,
Colin Newman,
Sad Lovers and Giants,
Echospace,
The Smiths,
Barry Ungar,
The Blackbyrds,
Heaven 17,
DNA,
Dave Gahan,
Ultimate Spinach,
Cabaret Voltaire,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hoover,
Eric B and Rakim,
Marc Almond,
Barbara Tucker,
These Immortal Souls,
Soft Machine,
The Chocolate Watch Band,
Kool Moe Dee,
Gang of Four,
Outsiders,
Wire,
Lalann,
The Dave Clark Five,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.