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 Iceland and from Accra.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Columbus and Houston.
I'm losing my edge to the art-school Lille 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 spring reverb 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 Half Japanese to the disco 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 Mary Jane Girls. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every World's Most record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
The Blackbyrds,
Warren Ellis,
Fort Wilson Riot,
Ash Ra Tempel,
Heaven 17,
Dorothy Ashby,
Mo-Dettes,
Gang Green,
The Remains,
June Days,
Mad Mike,
Deutsch Amerikanische Freundschaft,
Grandmaster Flash and the Furious Five,
Outsiders,
The Shadows of Knight,
Ronan,
Nick Fraelich,
Sarah Menescal,
Eric Dolphy,
Average White Band,
Reagan Youth,
Hasil Adkins,
Stiv Bators,
Chris & Cosey,
Lou Reed,
Qualms,
Andrew Hill,
Donald Byrd,
The United States of America,
Con Funk Shun,
Glambeats Corp.,
Althea and Donna,
The Martian,
Rotary Connection,
Motorama,
The Skatalites,
The Techniques,
Public Image Ltd.,
The Cosmic Jokers,
Wally Richardson,
Masters at Work,
Zero Boys,
Magma,
Pierre Henry,
Liaisons Dangereuses,
Ultimate Spinach,
Jesper Dahlback,
Johnny Osbourne,
Nirvana,
48th St. Collective,
Notorious Big And Bone Thugs,
D'Angelo,
Erykah Badu,
Sun City Girls,
Arcadia,
Ossler,
Negative Approach,
Franke,
the Association,
Lee Hazlewood,
Gastr Del Sol,
Teenage Jesus and the Jerks,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.