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 East Timor and from Shanghai.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Beijing and Lille.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Blues Magoos to the grime 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 New York Dolls. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every The Index 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 '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
10cc,
cv313,
Deepchord,
Tim Buckley,
Isaac Hayes,
Spoonie Gee,
Bang on a Can All-Stars,
Vaughan Mason & Crew,
Moss Icon,
The Seeds,
UT,
Lou Reed & John Cale,
The Happenings,
The Red Krayola,
The Angels of Light,
Mars,
Banda Bassotti,
Lakeside,
Fear,
Magma,
Dennis Brown,
The Pretty Things,
The Alarm Clocks,
Tears for Fears,
Con Funk Shun,
Alton Ellis,
Grandmaster Flash and the Furious Five,
Siglo XX,
Country Joe & The Fish,
Lee Hazlewood,
Pylon,
Suburban Knight,
kango's stein massive,
Janne Schatter,
Joy Division,
Infiniti,
Gang Green,
DeepChord presents Echospace,
Urselle,
Johnny Osbourne,
The Smiths,
Rhythm & Sound,
One Last Wish,
Louis and Bebe Barron,
Darondo,
Los Fastidios,
Fort Wilson Riot,
Flipper,
Crispy Ambulance,
Sun Ra Arkestra,
Wire,
Scratch Acid,
Pole,
The Detroit Cobras,
Big Daddy Kane,
Thee Headcoats,
Groovy Waters,
Sonic Youth,
Jesper Dahlbäck,
The Neon Judgement,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.