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 Bangladesh and from Philadelphia.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Milan 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer 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 Chocolate Watch Band to the techno 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 Groovy Waters. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Tim Buckley 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
CMW,
China Crisis,
10cc,
David Bowie,
Thinking Fellers Union Local 282,
Rosa Yemen,
Ajijia Myrayebe,
Neil Young & Crazy Horse,
DJ Sneak,
Brand Nubian,
UT,
Grauzone,
Jandek,
Underground Resistance,
Oneida,
Beasts of Bourbon,
Matthew Halsall,
The Count Five,
Sex Pistols,
Connie Case,
Aural Exciters,
Khruangbin,
The Young Rascals,
It's A Beautiful Day,
Notorious Big And Bone Thugs,
Johnny Clarke,
Babytalk,
Fugazi,
Stereo Dub,
Black Sheep,
Andrew Ashong & Theo Parrish,
Donald Byrd,
A Certain Ratio,
Saccharine Trust,
Fear,
Goldenarms,
Girls At Our Best!,
The Peanut Butter Conspiracy,
The Stooges,
Susan Cadogan,
The Blues Magoos,
Suburban Knight,
Don Cherry,
Eurythmics,
Second Layer,
Urselle,
The Neon Judgement,
Loose Ends,
Sister Nancy,
Crash Course in Science,
Iggy Pop,
Prince Buster,
The Doobie Brothers,
Schoolly D,
Adolescents,
Banda Bassotti,
Cybotron,
Model 500,
John Holt, John Holt, John Holt, John Holt.
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.