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 Ghana and from Stockholm.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Taipei and Toronto.
I'm losing my edge to the art-school Mexico City 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 guitar 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 Detroit Cobras to the dance 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 Black Sheep. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Bootsy's Rubber Band,
F. McDonald,
Yaz,
The Birthday Party,
Saccharine Trust,
Fort Wilson Riot,
Siglo XX,
Make Up,
Stockholm Monsters,
Laurel Aitken,
Soul II Soul,
Rufus Thomas,
Amon Düül II,
Pete Rock & C.L. Smooth,
The Residents,
Rosa Yemen,
Bill Near,
Rapeman,
Con Funk Shun,
Barry Ungar,
Soulsonic Force,
Alton Ellis,
Bauhaus,
It's A Beautiful Day,
Glenn Branca,
Gang of Four,
Lalo Schifrin,
Bobby Byrd,
Leonard Cohen,
Lungfish,
Q and Not U,
Fugazi,
Los Fastidios,
Cluster,
Chris & Cosey,
Gabor Szabo,
Scan 7,
Mark Hollis,
Thee Headcoats,
The Zeros,
The Slackers,
The Toasters,
Yazoo,
Cybotron,
Piero Umiliani,
Marcia Griffiths,
E-Dancer,
The Sonics,
Arcadia,
Art Ensemble Of Chicago,
Ultravox,
Nils Olav,
Technova,
Quantec,
Ludus,
The Remains,
Nas,
Absolute Body Control,
Alice Coltrane,
Thompson Twins,
Rowland S Howard / Lydia Lunch,
Colin Newman,
Gang Green,
The Associates, The Associates, The Associates, The Associates.
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.