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 Qatar and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Johannesburg 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 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 Idris Muhammad to the jazz kids.
I played it at the Hacienda.
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 Ken Boothe. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Juan Atkins,
The Stooges,
The Cramps,
Smog,
Glambeats Corp.,
Bobby Womack,
Eurythmics,
Easy Going,
Franke,
James Chance & The Contortions,
Tres Demented,
Siglo XX,
the Sonics,
Roger Hodgson,
Lebanon Hanover,
X-Ray Spex,
Louis and Bebe Barron,
The Victims,
David Axelrod,
Royal Trux,
Lyres,
Babytalk,
10cc,
Rotary Connection,
Bobby Byrd,
Scott Walker,
The Cosmic Jokers,
June Days,
Byron Stingily,
Mr. Review,
Gang Gang Dance,
The Smiths,
Jeru the Damaja,
Derrick May,
These Immortal Souls,
Neil Young,
Alison Limerick,
John Coltrane,
The Blues Magoos,
ABBA,
Whodini,
Oppenheimer Analysis,
Sonny Sharrock,
Black Sheep,
U.S. Maple,
DJ Style,
Deepchord,
Freddie Wadling,
Boogie Down Productions,
The Monochrome Set,
The Flesh Eaters,
Con Funk Shun,
T.S.O.L.,
Liliput,
UT,
Tim Buckley,
Rhythim Is Rhythim,
Vladislav Delay,
Skarface,
Moebius,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.