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 Bolivia and from Woodstock.
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 Lyon and Jakarta.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 Soft Machine to the techno 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 Bill Near. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Big Daddy Kane,
Funky Four + One,
Harmonia,
Pharoah Sanders,
The West Coast Pop Art Experimental Band,
Mars,
Jandek,
Gang of Four,
The Saints,
Fort Wilson Riot,
Junior Murvin,
Electric Light Orchestra,
Stetsasonic,
Arcadia,
Dr. Dre and Snoop Doggy Dog,
JFA,
The Martian,
Gichy Dan,
T. Rex,
The Star Department,
Susan Cadogan,
Swans,
Pantaleimon,
Pierre Henry,
Marvin Gaye,
the Sonics,
Roxette,
Funkadelic,
Masters at Work,
The Victims,
Ten City,
Parry Music,
Motorama,
Japan,
Barclay James Harvest,
Half Japanese,
Sly & The Family Stone,
Richard Hell and the Voidoids,
Sparks,
Gil Scott-Heron and Jamie xx,
The Birthday Party,
Nirvana,
Royal Trux,
Kurtis Blow,
Absolute Body Control,
Tropical Tobacco,
Television Personalities,
Yusef Lateef,
The Pop Group,
Flamin' Groovies,
Grandmaster Flash and the Furious Five,
Camron Feat. Memphis Bleek And Beenie Seigel,
Shoche,
Donald Byrd,
Archie Shepp,
Oneida,
Sight & Sound,
Fifty Foot Hose,
Marshall Jefferson,
Soft Cell,
Organ, Organ, Organ, Organ.
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.