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 Netherlands 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 1968 to 1974.
I'm losing my edge.
To all the kids in New York and Lagos.
I'm losing my edge to the art-school Mexico City 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 arpeggiator 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 Todd Terry to the grunge kids.
I played it at the Roxy.
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 Lou Christie. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every MDC record on German import.
I heard that you have a white label of every seminal rap 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Patti Smith,
The Vogues,
Angry Samoans,
Radio Birdman,
The Litter,
LL Cool J,
The Toasters,
The Royal Family And The Poor,
Monks,
Danielle Patucci,
D'Angelo,
Stiv Bators,
Average White Band,
Pantytec,
Peter and Kerry,
Rod Modell,
10cc,
Magma,
The Gap Band,
Kurtis Blow,
The Blues Magoos,
the Human League,
Wighnomy Brothers & Robag Wruhme,
Massinfluence,
The American Breed,
E-Dancer,
Gang Gang Dance,
Model 500,
Juan Atkins,
Deakin,
X-101,
Aswad,
Kauko Röyhkä ja Narttu,
Skaos,
John Coltrane,
The Happenings,
Dead Boys,
Camberwell Now,
Gian Franco Pienzio,
The Alarm Clocks,
Crispy Ambulance,
Boogie Down Productions,
Erasure,
Unrelated Segments,
Al Stewart,
Deadbeat,
Godley & Creme,
ABBA,
Jesper Dahlbäck,
The Tremeloes,
Visage,
Curtis Mayfield,
Qualms,
Flipper,
The Gladiators,
Aaron Thompson,
Interpol,
The Golliwogs,
Sister Nancy,
Kenny Larkin,
Minutemen,
Easy Going, Easy Going, Easy Going, Easy Going.
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.