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 Austria and from Mexico City.
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 1971.
I'm losing my edge.
To all the kids in London and Madrid.
I'm losing my edge to the art-school Manila 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare 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 Moss Icon to the funk kids.
I played it at the Troubador.
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 Patti Smith. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Kerri Chandler record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
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 The Alarm Clocks record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suicide,
Derrick May,
Black Moon,
Technova,
Massinfluence,
Index,
Oblivians,
Sugar Minott,
Boredoms,
The Fortunes,
Avey Tare,
Lou Reed,
Fatback Band,
a-ha,
Liliput,
Harpers Bizarre,
Swell Maps,
Major Organ And The Adding Machine,
Matthew Halsall,
Quantec,
Second Layer,
New York Dolls,
Letta Mbulu,
Suburban Knight,
The Golliwogs,
Janne Schatter,
The Monochrome Set,
ABC,
Moss Icon,
Rakim,
The Knickerbockers,
Liaisons Dangereuses,
the Sonics,
Brand Nubian,
A Certain Ratio,
Faraquet,
The Alarm Clocks,
Hot Snakes,
James Chance & The Contortions,
Al Stewart,
Barry Ungar,
Absolute Body Control,
The Standells,
Roger Hodgson,
Deadbeat,
Darondo,
Gil Scott-Heron and Jamie xx,
Pharoah Sanders,
Grauzone,
Section 25,
the Human League,
Roy Ayers,
Hasil Adkins,
The Trojans,
Kool Moe Dee,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lebanon Hanover,
Gastr Del Sol,
Unrelated Segments,
Gian Franco Pienzio,
OOIOO,
Severed Heads,
Make Up,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.