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 Equatorial Guinea and from Beijing.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Manchester and Manila.
I'm losing my edge to the art-school Mexico City 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 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 Rapeman to the rock kids.
I played it at the 40 Watt.
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 KRS-One. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every The Fugs 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 '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Sun Ra,
Parry Music,
Unrelated Segments,
Godley & Creme,
The Motions,
Amon Düül II,
Louis and Bebe Barron,
Harmonia,
Lou Reed,
Stereo Dub,
The Vogues,
Public Image Ltd.,
Duran Duran,
The Chocolate Watch Band,
The Beau Brummels,
Delon & Dalcan,
Lou Christie,
Andrew Hill,
Eyeless In Gaza,
The Cure,
Harry Pussy,
The Standells,
The Golliwogs,
Niagra,
Johnny Osbourne,
The Pretty Things,
Alison Limerick,
Dark Day,
Boogie Down Productions,
the Normal,
Eden Ahbez,
Funkadelic,
The Detroit Cobras,
Lee Hazlewood,
Whodini,
R.M.O.,
Bill Near,
Toni Rubio,
Rites of Spring,
Bad Manners,
The Sonics,
Ronan,
Oneida,
Agent Orange,
Crispian St. Peters,
The Moody Blues,
The Raincoats,
Grey Daturas,
the Fania All-Stars,
Letta Mbulu,
Roy Ayers,
Moebius,
Wasted Youth,
Gang Green,
Deakin,
Depeche Mode,
Stockholm Monsters,
John Lydon,
Pharoah Sanders,
Bronski Beat,
Bauhaus,
Jandek,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.