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 Swaziland and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Paris and London.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Bobby Hutcherson to the rock kids.
I played it at the Roxy.
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 The Barracudas. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Bob Dylan 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Sun Ra,
A Flock of Seagulls,
Pussy Galore,
The Slits,
Lower 48,
Excepter,
Sunsets and Hearts,
Michelle Simonal,
Supertramp,
The Knickerbockers,
Swans,
48th St. Collective,
Charles Mingus,
AZ,
Ultra Naté,
Man Eating Sloth,
Scientists,
Scott Walker,
Roxy Music,
Barrington Levy,
Howard Jones,
Sam Rivers,
Shuggie Otis,
Johnny Osbourne,
The Cure,
Blake Baxter,
The Blackbyrds,
China Crisis,
Subhumans,
The New Christs,
Soft Machine,
Kaleidoscope,
Pierre Henry,
DJ Sneak,
The Royal Family And The Poor,
The Jesus and Mary Chain,
Sarah Menescal,
Loose Ends,
The Fuzztones,
Freddie Wadling,
Model 500,
The Barracudas,
Joe Smooth,
Index,
Ash Ra Tempel,
Lafayette Afro Rock Band,
Rites of Spring,
The Gap Band,
Joe Finger,
Camron Feat. Memphis Bleek And Beenie Seigel,
Quadrant,
Youth Brigade,
Alton Ellis,
The Birthday Party,
Grandmaster Flash and the Furious Five,
Kayak,
Alice Coltrane,
Nils Olav,
Boredoms,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.