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 Gambia and from Mexico City.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Taipei and Glasgow.
I'm losing my edge to the art-school Toronto 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum 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 Half Japanese to the rock 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 Johnny Clarke. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
Slick Rick,
Sarah Menescal,
Nick Cave & The Bad Seeds,
DeepChord presents Echospace,
Josef K,
Animal Collective,
Iggy Pop,
Radio Birdman,
Magma,
Massinfluence,
Fifty Foot Hose,
kango's stein massive,
Hardrive,
Saccharine Trust,
Ultimate Spinach,
Pantaleimon,
Banda Bassotti,
Suburban Knight,
Zero Boys,
Youth Brigade,
Roxy Music,
Duran Duran,
Michelle Simonal,
The Buckinghams,
The Tremeloes,
Cabaret Voltaire,
The Mojo Men,
Soulsonic Force,
Yellowson,
Whodini,
Toni Rubio,
The Pop Group,
Richard Hell and the Voidoids,
Graham Central Station,
Camberwell Now,
Liliput,
Super Lover Cee & Casanova Rud,
Junior Murvin,
Ossler,
Marc Romboy vs. Booka Shade,
Ten City,
Marcia Griffiths,
The New Christs,
Pole,
Cecil Taylor,
Andrew Ashong & Theo Parrish,
F. McDonald,
Hasil Adkins,
The Moody Blues,
Brand Nubian,
Wighnomy Brothers & Robag Wruhme,
Public Image Ltd.,
Glambeats Corp.,
Desert Stars,
a-ha,
Q65,
Ken Boothe,
Terror Squad Feat. Camron,
The Gap Band,
The Cure,
John Holt, John Holt, John Holt, John Holt.
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.