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 Austria and from Lagos.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Lille and Sao Paulo.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Althea and Donna to the electroclash kids.
I played it at Cafe Wha.
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 Funkadelic. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Liaisons Dangereuses 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Jacques Brel,
Art Ensemble Of Chicago,
Fear,
Gian Franco Pienzio,
Blake Baxter,
Sly & The Family Stone,
Lou Reed & John Cale,
F. McDonald,
Grandmaster Flash and the Furious Five,
Rotary Connection,
Banda Bassotti,
the Slits,
Tears for Fears,
Can,
The Doors,
The Techniques,
Hardrive,
Maurizio,
Young Marble Giants,
Aswad,
DeepChord presents Echospace,
L. Decosne,
The Dirtbombs,
Von Mondo,
Porter Ricks,
Crooked Eye,
Kings Of Tomorrow,
Nick Cave & The Bad Seeds,
The Royal Family And The Poor,
Black Pus,
the Germs,
Mr. Review,
Jeru the Damaja,
Albert Ayler,
Darondo,
These Immortal Souls,
Aural Exciters,
This Heat,
Judy Mowatt,
The Names,
Sticky Fingaz feat. Raekwon,
Wasted Youth,
Big Daddy Kane,
Tres Demented,
Circle Jerks,
Procol Harum,
Arthur Verocai,
Pylon,
Joyce Sims,
OOIOO,
Soulsonic Force,
The Wake,
Mary Jane Girls,
Grandmaster Flash,
The Red Krayola,
The Moody Blues,
Dawn Penn,
Röyhkä ja Rättö ja Lehtisalo,
James Chance & The Contortions,
Gastr Del Sol,
Index, Index, Index, Index.
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.