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 Sierra Leone and from New York.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
I'm losing my edge to the art-school Columbus 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 the Normal to the rap kids.
I played it at the Troubador.
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 The Remains. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
The Walker Brothers,
Robert Görl,
Lafayette Afro Rock Band,
Flipper,
June Days,
Half Japanese,
Laurel Aitken,
Super Lover Cee & Casanova Rud,
Das Ding,
Interpol,
Shuggie Otis,
Surgeon,
CMW,
Radio Birdman,
The Selecter,
OOIOO,
Reuben Wilson,
Lizzy Mercier Descloux,
Swans,
Isaac Hayes,
Rowland S Howard / Lydia Lunch,
Gang Green,
The Doors,
E-Dancer,
Porter Ricks,
The Beau Brummels,
Wighnomy Brothers & Robag Wruhme,
Pole,
JFA,
Godley & Creme,
The Modern Lovers,
Bootsy Collins,
Gil Scott-Heron and Jamie xx,
Grandmaster Flash and the Furious Five,
A Certain Ratio,
Sex Pistols,
The United States of America,
Pylon,
Arcadia,
The Birthday Party,
Selector Dub Narcotic,
Warren Ellis,
Little Man,
Lou Reed,
The Move,
Roy Ayers Ubiquity,
The Young Rascals,
Sällskapet,
Sarah Menescal,
Curtis Mayfield,
The Monochrome Set,
Marshall Jefferson,
The Royal Family And The Poor,
Slick Rick,
The Black Dice,
The Zeros,
Maurizio,
Kango’s Stein Massive,
Leonard Cohen,
Eli Mardock,
Grauzone,
Stetsasonic,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.