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 Sudan and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Copenhagen 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Albert Ayler to the techno 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 Brothers Johnson. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Cecil Taylor,
The Last Poets,
Robert Hood,
Marcia Griffiths,
Mad Mike,
Ash Ra Tempel,
The Real Kids,
The Martian,
Gang Gang Dance,
Tomorrow,
Eli Mardock,
China Crisis,
The Evens,
Public Image Ltd.,
Ohio Players,
the Sonics,
Todd Rundgren,
Tommy Roe,
Surgeon,
Bobbi Humphrey,
Tears for Fears,
Interpol,
The Gladiators,
Jeff Mills,
Sun Ra,
Leonard Cohen,
Dawn Penn,
Roy Ayers,
Subhumans,
Crooked Eye,
Pylon,
Grandmaster Flash and the Furious Five,
The Doors,
The United States of America,
Rufus Thomas,
Joyce Sims,
The Stooges,
Wolf Eyes,
Major Organ And The Adding Machine,
Joensuu 1685,
Sex Pistols,
Barbara Tucker,
Magazine,
Bootsy's Rubber Band,
Maleditus Sound,
Shuggie Otis,
Underground Resistance,
Lee Hazlewood,
Soulsonic Force,
X-102,
Sixth Finger,
Oppenheimer Analysis,
Pet Shop Boys,
Notorious Big And Bone Thugs,
Thee Headcoats,
Accadde A,
Black Flag,
Deakin,
The Tremeloes,
Icehouse,
Masters at Work,
Lyres, Lyres, Lyres, Lyres.
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.