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 Iraq and from Seoul.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Delhi and Portland.
I'm losing my edge to the art-school Spokane 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 The Toasters 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 Gil Scott-Heron and Jamie xx. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Flipper 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 '80s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Pete Rock & C.L. Smooth,
Sam Rivers,
Judy Mowatt,
Jeru the Damaja,
Khruangbin,
The Angels of Light,
Juan Atkins,
Sonny Sharrock,
Cheater Slicks,
Liliput,
The Cramps,
Jandek,
Deepchord,
The Happenings,
Jawbox,
Camberwell Now,
the Fania All-Stars,
Black Moon,
Bobby Womack,
The Gap Band,
Severed Heads,
The Birthday Party,
Gil Scott-Heron & Brian Jackson,
Q65,
Scrapy,
Barbara Tucker,
Underground Resistance,
Wally Richardson,
PIL,
Frankie Knuckles,
Thee Headcoats,
Rotary Connection,
The Selecter,
Harpers Bizarre,
Negative Approach,
Soulsonic Force,
Eden Ahbez,
Notorious BIG live in Amsterdam,
Ten City,
The Fugs,
Can,
Ken Boothe,
Cabaret Voltaire,
Al Stewart,
Deakin,
The Alarm Clocks,
Trumans Water,
R.M.O.,
Gong,
Model 500,
Nation of Ulysses,
Audionom,
David McCallum,
Sight & Sound,
Smog,
Slave,
Public Image Ltd.,
The Doors,
Nick Cave & The Bad Seeds,
Graham Central Station,
Adolescents,
Kenny Larkin,
June Days, June Days, June Days, June Days.
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.