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 San Marino and from Sao Paulo.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Delhi and Paris.
I'm losing my edge to the art-school New York 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 David Axelrod to the rock kids.
I played it at the Spitz.
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 Skarface. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Das Ding,
Black Moon,
Rhythim Is Rhythim,
Derrick Morgan,
the Slits,
Jacques Brel,
Nik Kershaw,
Public Image Ltd.,
Procol Harum,
Hashim,
Blossom Toes,
Don Cherry,
Average White Band,
The Durutti Column,
Joe Finger,
The Mighty Diamonds,
The Fall,
Ornette Coleman,
Peter and Kerry,
Eli Mardock,
Tres Demented,
Sunsets and Hearts,
The Moleskins,
Soft Machine,
Traffic Nightmare,
Eric Dolphy,
The Standells,
Arcadia,
Echospace,
Rhythm & Sound,
Sister Nancy,
Theoretical Girls,
Buzzcocks,
Saccharine Trust,
Barry Ungar,
Sparks,
Michelle Simonal,
CMW,
Radiohead,
Funky Four + One,
Jeff Mills,
Dead Boys,
Lindisfarne,
Marc Almond,
Vladislav Delay,
JFA,
Joyce Sims,
Throbbing Gristle,
Boogie Down Productions,
Art Ensemble Of Chicago,
Negative Approach,
Porter Ricks,
The Dead C,
Maleditus Sound,
Nation of Ulysses,
Joensuu 1685,
The American Breed,
KRS-One,
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.