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 Netherlands and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Manila 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Sällskapet 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 Lightning Bolt. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Slackers,
Talk Talk,
Duran Duran,
Robert Hood,
Heavy D & The Boyz,
The Divine Comedy,
Subhumans,
Sixth Finger,
Essential Logic,
Soft Cell,
Prince Buster,
Joey Negro,
10cc,
OOIOO,
Hoover,
Lizzy Mercier Descloux,
John Holt,
The Sisters of Mercy,
Supertramp,
Half Japanese,
Nik Kershaw,
Glambeats Corp.,
Maurizio,
Radio Birdman,
Anthony Braxton,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
the Soft Cell,
Hasil Adkins,
Suicide,
Harpers Bizarre,
Infiniti,
Howard Jones,
Q and Not U,
Visionaries,LMNO, T- Love & Iriscience,
Sly & The Family Stone,
Hardrive,
Joe Smooth,
Quando Quango,
The Slits,
Crispian St. Peters,
Justin Hinds & The Dominoes,
Youth Brigade,
Susan Cadogan,
Bobby Womack,
Notorious Big And Bone Thugs,
AZ,
Accadde A,
Fluxion,
Surgeon,
Model 500,
Rhythm & Sound,
Bush Tetras,
Unwound,
Porter Ricks,
Warren Ellis,
Dennis Brown,
Lightning Bolt,
Moebius,
Urselle,
The Fugs,
Minny Pops,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.