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 Japan and from Seoul.
But I was there.
I was there in .
I was there at the first Suicide 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 1963 to 1975.
I'm losing my edge.
To all the kids in Halifax and Accra.
I'm losing my edge to the art-school Winnipeg 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 808 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 Slick Rick to the grime 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 Neil Young. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Black Bananas record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Y Pants,
Wasted Youth,
Sällskapet,
The Skatalites,
Jimmy McGriff,
Babytalk,
Shuggie Otis,
Rufus Thomas,
Dawn Penn,
Cluster,
Eyeless In Gaza,
Echo & the Bunnymen,
Gastr Del Sol,
Laurel Aitken,
The Modern Lovers,
Jacques Brel,
the Bar-Kays,
Slick Rick,
Lou Reed,
the Association,
Fela Kuti,
Scion,
Byron Stingily,
Crash Course in Science,
Minny Pops,
The Move,
Moby Grape,
Camouflage,
Tim Buckley,
In Retrospect,
Harry Pussy,
Rowland S Howard / Lydia Lunch,
Public Enemy,
Fear,
Gong,
cv313,
Q65,
Saccharine Trust,
Gerry Rafferty,
The Fire Engines,
Surgeon,
The Men They Couldn't Hang,
Kas Product,
Gil Scott Heron,
Delta 5,
Gil Scott-Heron and Jamie xx,
Inner City,
World's Most,
The Angels of Light,
Angry Samoans,
Guru Guru,
John Coltrane,
the Normal,
Pharoah Sanders,
Rhythim Is Rhythim,
EPMD,
Yazoo,
Stereo Dub,
Pierre Henry,
The Pretty Things,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.