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 Rwanda and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Salvador.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 Mojo Men 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 Byron Stingily. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Livin' Joy record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wighnomy Brothers & Robag Wruhme,
The Selecter,
Tommy Roe,
China Crisis,
Spoonie Gee,
Inner City,
London Community Gospel Choir,
Eurythmics,
Pole,
Flamin' Groovies,
The Remains,
the Germs,
Aswad,
KRS-One,
Joensuu 1685,
Blossom Toes,
The Peanut Butter Conspiracy,
Rosa Yemen,
Janne Schatter,
Gil Scott-Heron & Brian Jackson,
Gichy Dan,
Oppenheimer Analysis,
Soft Machine,
Organ,
Carl Craig,
Mary Jane Girls,
Skarface,
The Evens,
Don Cherry,
Scott Walker,
EPMD,
The Motions,
Rod Modell,
The Pretty Things,
The Modern Lovers,
Andrew Ashong & Theo Parrish,
Suburban Knight,
Neil Young,
Crispian St. Peters,
Donny Hathaway,
Vainqueur,
Aaron Thompson,
Barbara Tucker,
Rhythim Is Rhythim,
Red Lorry Yellow Lorry,
Deutsch Amerikanische Freundschaft,
Sun City Girls,
Jeff Lynne,
Ten City,
Sixth Finger,
Supertramp,
A Certain Ratio,
The Moody Blues,
Moebius,
Slick Rick,
Cal Tjader,
Maleditus Sound,
Hoover,
Rufus Thomas,
The Gories, The Gories, The Gories, The Gories.
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.