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 Montenegro and from Portland.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Toronto 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the linndrum 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 Rites of Spring to the funk kids.
I played it at the Spitz.
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 Duran Duran. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Brass Construction 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Icehouse,
Grandmaster Flash and the Furious Five,
Masters at Work,
Lightning Bolt,
Amon Düül II,
Faust,
Rowland S Howard / Lydia Lunch,
Spandau Ballet,
Dual Sessions,
Von Mondo,
Bang on a Can All-Stars,
Tom Boy,
Altered Images,
David Axelrod,
Gregory Isaacs,
Mars,
Brand Nubian,
John Cale,
Kayak,
Heavy D & The Boyz,
Flipper,
Chris & Cosey,
The Mummies,
Morten Harket,
Con Funk Shun,
Electric Prunes,
Donny Hathaway,
Alphaville,
Alice Coltrane,
Public Image Ltd.,
Gil Scott-Heron & Brian Jackson,
Khruangbin,
Groovy Waters,
Magazine,
Funkadelic,
The Cosmic Jokers,
Easy Going,
Agent Orange,
Angry Samoans,
Dave Gahan,
The Star Department,
Simply Red,
Joyce Sims,
The Detroit Cobras,
Scott Walker + Sunn O))),
Roy Ayers Ubiquity,
Q and Not U,
Arcadia,
Gong,
Albert Ayler,
Deadbeat,
Urselle,
Robert Wyatt,
X-102,
The Fall,
David McCallum,
The Gories,
Gastr Del Sol,
The Fuzztones,
Crash Course in Science,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.