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 Micronesia and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Columbus and Beijing.
I'm losing my edge to the art-school Taipei 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 arpeggiator 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 Nas to the grunge 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 Grauzone. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Boredoms,
Q and Not U,
JFA,
Eric Copeland,
MC5,
Albert Ayler,
Rakim,
Supertramp,
The Buckinghams,
Harpers Bizarre,
Grandmaster Flash and the Furious Five,
Yaz,
Sam Rivers,
Rhythm & Sound,
Johnny Osbourne,
Ken Boothe,
Main Source,
Masters at Work,
The Index,
Minutemen,
Terrestrial Tones,
the Bar-Kays,
Blake Baxter,
Sex Pistols,
The Victims,
The Modern Lovers,
Howard Jones,
D'Angelo,
Soul II Soul,
Warsaw,
the Soft Cell,
Reagan Youth,
Roger Hodgson,
Cecil Taylor,
Sly & The Family Stone,
Dead Boys,
Moby Grape,
Suburban Knight,
Scrapy,
Big Daddy Kane,
Young Marble Giants,
Letta Mbulu,
Animal Collective,
Marc Romboy vs. Booka Shade,
The Kinks,
Slave,
Laurel Aitken,
Tim Buckley,
X-101,
Kool G Rap & DJ Polo,
Public Image Ltd.,
Bill Wells,
F. McDonald,
Skarface,
Underground Resistance,
Yazoo,
Scott Walker,
The Blues Magoos,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.