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 Hungary 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 1962 to 1974.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Cairo 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 1975 at the first Ubu practice in a loft in Cleveland.
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 Maleditus Sound to the jazz kids.
I played it at the Astoria.
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 Todd Terry. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every The Neon Judgement 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a MC5 record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Mad Mike,
Gil Scott-Heron & Brian Jackson,
Hardrive,
Electric Light Orchestra,
Wally Richardson,
Sound Behaviour,
Faust,
Malaria!,
Tubeway Army,
Art Ensemble Of Chicago,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Excepter,
Nils Olav,
Mars,
Scratch Acid,
Pete Rock & C.L. Smooth,
The Chocolate Watch Band,
Soulsonic Force,
Second Layer,
The Fuzztones,
The Slackers,
Scientists,
The Doors,
Subhumans,
Don Cherry,
Sam Rivers,
The Last Poets,
Groovy Waters,
Visage,
Cal Tjader,
London Community Gospel Choir,
Mr. Review,
R.M.O.,
Vladislav Delay,
Warren Ellis,
Susan Cadogan,
Lou Reed,
Ralphi Rosario,
Shoche,
Crispian St. Peters,
Jerry's Kids,
Altered Images,
John Coltrane,
Fear,
MC5,
Lucky Dragons,
Sad Lovers and Giants,
Bauhaus,
Robert Wyatt,
The J.B.'s,
JFA,
June of 44,
Outsiders,
Masters at Work,
The Sound,
The Moody Blues,
Curtis Mayfield,
Crooked Eye,
Drive Like Jehu,
Royal Trux,
Oblivians,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.