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 Tuvalu and from Spokane.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Toronto.
I'm losing my edge to the art-school Lyon 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Fall to the funk kids.
I played it at the Spitz.
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 Banda Bassotti. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal grime 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 an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
K-Klass,
The Black Dice,
Dr. Dre and Snoop Doggy Dog,
Gastr Del Sol,
Sun Ra Arkestra,
Little Man,
Pylon,
Larry & the Blue Notes,
Index,
One Last Wish,
Tommy Roe,
Animal Collective,
Agent Orange,
Minny Pops,
The Angels of Light,
Jimmy McGriff,
Eve St. Jones,
Shoche,
Sarah Menescal,
Groovy Waters,
Amon Düül,
Lou Reed & Metallica,
Kango’s Stein Massive,
Byron Stingily,
UT,
Michelle Simonal,
8 Eyed Spy,
Roy Ayers,
Rosa Yemen,
Crooked Eye,
De La Soul & Jungle Brothers,
Visionaries,LMNO, T- Love & Iriscience,
Mantronix,
Blossom Toes,
MDC,
Derrick Morgan,
Be Bop Deluxe,
Japan,
The Music Machine,
The Walker Brothers,
the Association,
The Martian,
Lindisfarne,
Matthew Bourne,
Agitation Free,
Second Layer,
Cal Tjader,
Donny Hathaway,
Eyeless In Gaza,
Ossler,
The Slits,
Ornette Coleman,
OOIOO,
Newcleus,
The Star Department,
Gregory Isaacs,
Lower 48,
These Immortal Souls,
Gong,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.