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 Uruguay and from Philadelphia.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Salvador and Portland.
I'm losing my edge to the art-school Winnipeg 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar 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 Faraquet to the disco 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 Peter & Gordon. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Thinking Fellers Union Local 282 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
the Fania All-Stars,
In Retrospect,
Tomorrow,
Ossler,
Slave,
Kurtis Blow,
Tears for Fears,
Gabor Szabo,
Peter & Gordon,
The Wake,
Steve Hackett,
Scott Walker,
Minutemen,
Dark Day,
Funky Four + One,
Bill Wells,
Bluetip,
Patti Smith,
The Slackers,
Wally Richardson,
The West Coast Pop Art Experimental Band,
Visionaries,LMNO, T- Love & Iriscience,
Laurel Aitken,
Little Man,
Skarface,
Ash Ra Tempel,
The Fugs,
Josef K,
Country Joe & The Fish,
The New Christs,
Notorious BIG live in Amsterdam,
Brothers Johnson,
Nas,
Bang On A Can,
The Electric Prunes,
Black Flag,
Intrusion,
cv313,
Yusef Lateef,
John Cale,
Lebanon Hanover,
K-Klass,
Andrew Ashong & Theo Parrish,
Howard Jones,
Camron Feat. Memphis Bleek And Beenie Seigel,
Scan 7,
Drexciya,
Davy DMX,
Depeche Mode,
Cheater Slicks,
The Dirtbombs,
Flash Fearless,
Fela Kuti,
The Velvet Underground,
Heaven 17,
The Pretty Things,
Amazonics,
Mad Mike,
Darondo,
Don Cherry,
Oppenheimer Analysis,
Lyres, Lyres, Lyres, Lyres.
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.