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 St Kitts & Nevis and from Philadelphia.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
I'm losing my edge to the art-school Beijing 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 mellotron 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 Warsaw to the funk 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 Main Source. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Parry Music,
Graham Central Station,
The Chocolate Watch Band,
Bluetip,
Bush Tetras,
Kerrie Biddell,
The Wake,
Lyres,
Supertramp,
Cheater Slicks,
A Certain Ratio,
Grandmaster Flash,
A Flock of Seagulls,
Hardrive,
Urselle,
KRS-One,
The Remains,
Masters at Work,
EPMD,
The Smiths,
X-Ray Spex,
Amazonics,
Eric Dolphy,
Cluster,
OOIOO,
Girls At Our Best!,
Icehouse,
The New Christs,
Boz Scaggs,
In Retrospect,
The Gun Club,
The Divine Comedy,
Ultimate Spinach,
Derrick Morgan,
Alton Ellis,
Terry Callier,
Funkadelic,
Sly & The Family Stone,
Kas Product,
Faust,
The Neon Judgement,
Sight & Sound,
Minor Threat,
Niagra,
Inner City,
The Detroit Cobras,
Lakeside,
Roger Hodgson,
Moby Grape,
The Cure,
Alison Limerick,
The Fugs,
John Holt,
Avey Tare,
Tomorrow,
Robert Wyatt,
DJ Style,
Scientists,
Shuggie Otis,
Byron Stingily,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.