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 Madagascar and from Mexico City.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1976.
I'm losing my edge.
To all the kids in Beijing and Woodstock.
I'm losing my edge to the art-school Portland 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 Robert Palmer 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 Avey Tare & Kría Brekkan to the crunk 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Danielle Patucci 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
The Selecter,
The Moody Blues,
Animal Collective,
New Order,
The Black Dice,
Larry & the Blue Notes,
Soul II Soul,
Fat Boys,
Barbara Tucker,
The Victims,
Metal Thangz,
the Bar-Kays,
Rhythim Is Rhythim,
Pylon,
Rosa Yemen,
Roy Ayers,
Matthew Halsall,
The Slackers,
Dorothy Ashby,
Lyres,
Althea and Donna,
Funky Four + One,
The Music Machine,
Andrew Hill,
Pierre Henry,
Guru Guru,
The Move,
Neil Young,
Eli Mardock,
Curtis Mayfield,
Altered Images,
The Golliwogs,
The Royal Family And The Poor,
Sun Ra Arkestra,
Eddi Front,
Sad Lovers and Giants,
Ultimate Spinach,
Pere Ubu,
Pantytec,
the Swans,
Von Mondo,
Tommy Roe,
The Mojo Men,
Steve Hackett,
Susan Cadogan,
Ossler,
Eurythmics,
The Last Poets,
Gong,
Gastr Del Sol,
Letta Mbulu,
Supertramp,
Minor Threat,
Ronnie Foster,
UT,
Rahsaan Roland Kirk,
Porter Ricks,
Don Cherry,
Young Marble Giants,
The Remains,
Eric B and Rakim,
The Zeros, The Zeros, The Zeros, The Zeros.
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.