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 Montenegro and from Bologna.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Beijing.
I'm losing my edge to the art-school Columbus 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 organ sounds with much patience.
I was there when Captain Beefheart 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 Ossler to the punk kids.
I played it at Trash.
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 David Axelrod. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a rhodes 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 theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Zero Boys,
Ten City,
48th St. Collective,
JFA,
One Last Wish,
Boogie Down Productions,
Lebanon Hanover,
Whodini,
Chris Corsano,
The Men They Couldn't Hang,
Talk Talk,
Minny Pops,
Rosa Yemen,
Ornette Coleman,
The Sound,
Lou Reed,
Faraquet,
Moby Grape,
T. Rex,
Tomorrow,
Jeru the Damaja,
Soft Cell,
Kenny Larkin,
Mandrill,
The Alarm Clocks,
Nick Fraelich,
Josef K,
Ronan,
The Offenders,
Bang on a Can All-Stars,
Erasure,
Jerry's Kids,
Roy Ayers Ubiquity,
Soul II Soul,
The Smiths,
DJ Style,
Sarah Menescal,
Johnny Osbourne,
Mark Hollis,
The Pretty Things,
Freddie Wadling,
Ralphi Rosario,
DNA,
The Stooges,
Brand Nubian,
Roxette,
Red Lorry Yellow Lorry,
The Flesh Eaters,
Trumans Water,
the Normal,
Index,
Delon & Dalcan,
Stetsasonic,
The Cowsills,
Al Stewart,
Ultra Naté,
Vaughan Mason & Crew,
Das Ding,
Aswad,
The Electric Prunes,
Ohio Players,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.