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 Libya and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Tehran and Edmonton.
I'm losing my edge to the art-school Accra 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 sitar sounds with much patience.
I was there when David Bowie 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 Lightning Bolt to the grunge kids.
I played it at the Crocodile.
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 Bill Wells. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every the Association 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Fifty Foot Hose,
The Golliwogs,
Sexual Harrassment,
Eric Dolphy,
Clear Light,
Alice Coltrane,
Banda Bassotti,
Flash Fearless,
Pharoah Sanders,
Roy Ayers Ubiquity,
Half Japanese,
Quadrant,
Popol Vuh,
The Dead C,
Sex Pistols,
Sarah Menescal,
Whodini,
Boogie Down Productions,
Suburban Knight,
The Selecter,
B.T. Express,
Sixth Finger,
The Electric Prunes,
Lower 48,
Visage,
Thee Headcoats,
Model 500,
The Knickerbockers,
Aloha Tigers,
a-ha,
Das Ding,
the Bar-Kays,
Harmonia,
Kas Product,
Rakim,
Sonny Sharrock,
The Red Krayola,
The Martian,
New Age Steppers,
The Standells,
Heavy D & The Boyz,
Nick Cave & The Bad Seeds,
Ultra Naté,
Marmalade,
In Retrospect,
The Flesh Eaters,
Brass Construction,
Organ,
the Germs,
Minnie Riperton,
Joensuu 1685,
Magazine,
Glenn Branca,
FM Einheit,
Interpol,
Saccharine Trust,
Yellowson,
Connie Case,
Gastr Del Sol,
Brick,
Robert Hood,
Faust,
Ultimate Spinach,
MDC, MDC, MDC, MDC.
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.