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 Nauru and from Lille.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1973.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 John Holt 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 Shuggie Otis. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Half Japanese 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Unwound,
The Cosmic Jokers,
Sonny Sharrock,
Young Marble Giants,
Das Ding,
Chris & Cosey,
Soul Sonic Force,
Don Cherry,
Gary Puckett & The Union Gap,
Ituana,
The Monks,
The Fugs,
Lower 48,
Graham Central Station,
K-Klass,
Electric Prunes,
Livin' Joy,
Blossom Toes,
Mantronix,
Saccharine Trust,
X-101,
Ken Boothe,
Heavy D & The Boyz,
Massinfluence,
The Modern Lovers,
Pet Shop Boys,
Quadrant,
Nils Olav,
Marmalade,
Davy DMX,
Girls At Our Best!,
Barrington Levy,
Deadbeat,
Sexual Harrassment,
kango's stein massive,
Visionaries,LMNO, T- Love & Iriscience,
Make Up,
The Sound,
Harmonia,
Masters at Work,
Delta 5,
Moebius,
The Standells,
Beasts of Bourbon,
Henry Cow,
Max Romeo,
Ultimate Spinach,
Röyhkä ja Rättö ja Lehtisalo,
Flash Fearless,
Dr. Dre and Snoop Doggy Dog,
Cecil Taylor,
Althea and Donna,
Rites of Spring,
Selector Dub Narcotic,
Sticky Fingaz feat. Raekwon,
Super Lover Cee & Casanova Rud,
Black Bananas,
the Soft Cell,
Nick Cave & The Bad Seeds,
Niagra,
The Blackbyrds,
Inner City,
The Pretty Things,
The Remains, The Remains, The Remains, The Remains.
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.