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 Morocco and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Houston and Accra.
I'm losing my edge to the art-school Jakarta 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Nick Fraelich to the grime 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 Vainqueur. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every The Stooges record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Moss Icon,
Ohio Players,
Nation of Ulysses,
The Pop Group,
Glambeats Corp.,
Rapeman,
Lou Reed & Metallica,
Jerry's Kids,
Babytalk,
Pere Ubu,
Jeru the Damaja,
Agent Orange,
Bobby Byrd,
The Cramps,
Lalo Schifrin,
Essential Logic,
Aswad,
Altered Images,
Peter & Gordon,
Lafayette Afro Rock Band,
Sparks,
Sight & Sound,
Aural Exciters,
It's A Beautiful Day,
Lizzy Mercier Descloux,
Howard Jones,
DNA,
Bob Dylan,
The Birthday Party,
Fela Kuti,
Faraquet,
Accadde A,
New York Dolls,
Siouxsie and the Banshees,
Nick Cave & The Bad Seeds,
Eden Ahbez,
Pantaleimon,
Excepter,
Tres Demented,
David Bowie,
Lakeside,
Eyeless In Gaza,
The Sonics,
Chris & Cosey,
Jerry Gold Smith,
Dorothy Ashby,
The Modern Lovers,
Masters at Work,
Eurythmics,
Sixth Finger,
Sun Ra Arkestra,
Electric Prunes,
Lou Reed & John Cale,
Black Sheep,
Franke,
The Busters,
Jeff Lynne,
Fat Boys,
The Walker Brothers,
Oblivians,
Mars,
The Doors,
The Smiths,
Niagra, Niagra, Niagra, Niagra.
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.