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 Algeria and from New York.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Stockholm.
I'm losing my edge to the art-school Seoul 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 Feelies practice in a loft in Haledon.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 LL Cool J to the dance kids.
I played it at the Astoria.
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 Warsaw. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
The Dead C,
Popol Vuh,
Index,
Sister Nancy,
Faust,
Erasure,
The Cure,
Sugar Minott,
Lungfish,
X-102,
Al Stewart,
ABBA,
Stereo Dub,
Can,
Traffic Nightmare,
Magazine,
Agent Orange,
Brass Construction,
Brothers Johnson,
DJ Sneak,
Mark Hollis,
Ken Boothe,
Half Japanese,
Siglo XX,
Bang on a Can All-Stars,
The Fortunes,
Mars,
Barclay James Harvest,
The Last Poets,
UT,
Sound Behaviour,
Gil Scott-Heron & Brian Jackson,
Eric Dolphy,
Deutsch Amerikanische Freundschaft,
Captain Beefheart & His Magic Band,
Don Cherry,
Jesper Dahlbäck,
Manfred Mann's Earth Band,
Los Fastidios,
Albert Ayler,
Andrew Hill,
Basic Channel,
Intrusion,
Main Source,
Liliput,
Scan 7,
Crispy Ambulance,
Cluster,
Graham Central Station,
Scratch Acid,
The Wake,
Lakeside,
The Doobie Brothers,
Junior Murvin,
Avey Tare's Slasher Flicks,
Matthew Bourne,
Gian Franco Pienzio,
Grandmaster Flash and the Furious Five,
Rekid,
Bad Manners,
Inner City,
Andrew Ashong & Theo Parrish,
Pagans, Pagans, Pagans, Pagans.
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.