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 Mauritania and from Tokyo.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord 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 Sarah Menescal to the crunk 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 Crime. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Dead Boys,
Easy Going,
These Immortal Souls,
Gastr Del Sol,
James White and The Blacks,
The Tremeloes,
Camberwell Now,
Bobby Sherman,
Gil Scott-Heron & Brian Jackson,
the Swans,
Gang Green,
Malaria!,
The Walker Brothers,
Lou Reed & John Cale,
Rahsaan Roland Kirk,
Andrew Hill,
Grey Daturas,
Archie Shepp,
Major Organ And The Adding Machine,
The Men They Couldn't Hang,
Ornette Coleman,
Derrick Morgan,
Roy Ayers Ubiquity,
Harmonia,
Clear Light,
Siglo XX,
Kevin Saunderson,
Banda Bassotti,
Soulsonic Force,
The Dirtbombs,
The Smiths,
The Chocolate Watch Band,
Pierre Henry,
Agent Orange,
This Heat,
Desert Stars,
Royal Trux,
Electric Prunes,
Dr. Dre and Snoop Doggy Dog,
Red Lorry Yellow Lorry,
E-Dancer,
Jeff Mills,
Frankie Knuckles,
The Busters,
Bootsy's Rubber Band,
The Seeds,
Dennis Brown,
The Residents,
Lakeside,
Mo-Dettes,
Icehouse,
Brass Construction,
David Bowie,
Nik Kershaw,
Gian Franco Pienzio,
The Monks,
Sister Nancy,
The Blackbyrds,
Kool G Rap & DJ Polo,
Qualms,
Lee Hazlewood,
The Fall,
Fugazi, Fugazi, Fugazi, Fugazi.
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.