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 Madagascar and from Manchester.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lagos and Jakarta.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Second Layer practice in a loft in South London.
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 Half Japanese to the grunge kids.
I played it at CBGB's.
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 Bush Tetras. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Ralphi Rosario record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young,
Graham Central Station,
The Names,
Sister Nancy,
Crash Course in Science,
Hot Snakes,
The Raincoats,
Motorama,
The Fugs,
Janne Schatter,
The Sisters of Mercy,
Tom Boy,
DNA,
Boredoms,
Joy Division,
Jeff Mills,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Coltrane,
Jeru the Damaja,
Andrew Hill,
Stockholm Monsters,
Animal Collective,
Ultramagnetic MC's,
Absolute Body Control,
Fugazi,
Q and Not U,
Rotary Connection,
Talk Talk,
The Happenings,
Mr. Review,
K-Klass,
The West Coast Pop Art Experimental Band,
World's Most,
Godley & Creme,
Harpers Bizarre,
Fluxion,
Beasts of Bourbon,
The Toasters,
Marmalade,
Peter and Kerry,
Jawbox,
Bush Tetras,
Royal Trux,
Black Pus,
Carl Craig,
The Electric Prunes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gong,
Circle Jerks,
The J.B.'s,
Aloha Tigers,
Echospace,
Gang Starr,
Rosa Yemen,
Barry Ungar,
Audionom,
The Black Dice,
Kauko Röyhkä ja Narttu,
Black Bananas,
The Fuzztones,
Supertramp,
Smog,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.