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 Slovakia and from Salvador.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Taipei 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe 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 Crooked Eye to the grime 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 La Düsseldorf. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
The Blues Magoos,
Terrestrial Tones,
Curtis Mayfield,
Gil Scott-Heron and Jamie xx,
Kango’s Stein Massive,
Heavy D & The Boyz,
Eden Ahbez,
Camberwell Now,
Robert Wyatt,
Louis and Bebe Barron,
Beasts of Bourbon,
Siouxsie and the Banshees,
John Lydon,
Ajijia Myrayebe,
Roxy Music,
The Velvet Underground,
Cabaret Voltaire,
Neu!,
Donald Byrd,
Negative Approach,
Fifty Foot Hose,
Clear Light,
Hot Snakes,
Agitation Free,
Harry Pussy,
Porter Ricks,
Jawbox,
Gil Scott-Heron & Brian Jackson,
Pharaoh Sanders and the Fire Engines,
Glambeats Corp.,
Kool Moe Dee,
Arthur Verocai,
Grandmaster Flash,
The Mummies,
the Fania All-Stars,
Second Layer,
Tropical Tobacco,
Camouflage,
The Gladiators,
Marmalade,
Lalann,
Ossler,
Mars,
Dorothy Ashby,
The Mojo Men,
Dark Day,
The Pop Group,
Mo-Dettes,
The Knickerbockers,
Oppenheimer Analysis,
Interpol,
June Days,
The Selecter,
A Certain Ratio,
Infiniti, Infiniti, Infiniti, Infiniti.
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.