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 Guyana and from Bologna.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Unwound to the crunk 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 Stockholm Monsters. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every The Move 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 '70s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Circle Jerks,
This Heat,
Bang On A Can,
Girls At Our Best!,
CMW,
Crispy Ambulance,
The Mummies,
Big Daddy Kane,
Al Stewart,
The Evens,
Eric Copeland,
The Fire Engines,
T.S.O.L.,
Talk Talk,
the Swans,
Roxette,
Icehouse,
Sexual Harrassment,
Hashim,
KRS-One,
Mark Hollis,
Mad Mike,
The Mighty Diamonds,
Chris Corsano,
The Tremeloes,
Arcadia,
The Saints,
Wasted Youth,
Gil Scott-Heron and Jamie xx,
Pole,
Echo & the Bunnymen,
Anthony Braxton,
Darondo,
Gregory Isaacs,
Godley & Creme,
Kango’s Stein Massive,
Easy Going,
Lungfish,
The Flesh Eaters,
Sixth Finger,
Johnny Osbourne,
FM Einheit,
Gang Starr,
Pete Rock & C.L. Smooth,
Electric Prunes,
Jerry Gold Smith,
Davy DMX,
DJ Style,
Iggy Pop,
Nick Cave & The Bad Seeds,
Bobbi Humphrey,
Tropical Tobacco,
Rhythm & Sound,
kango's stein massive,
Andrew Ashong & Theo Parrish,
Jeru the Damaja,
Public Image Ltd.,
Lou Christie,
Skriet,
Rapeman,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.