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 Sri Lanka and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1971.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Mumbai 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 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 Men They Couldn't Hang to the punk 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 One Last Wish. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Moebius 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a marimba 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 synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
London Community Gospel Choir,
Grandmaster Flash,
Inner City,
kango's stein massive,
KRS-One,
X-101,
The Beau Brummels,
Audionom,
Lonnie Liston Smith,
Desert Stars,
Minor Threat,
the Bar-Kays,
Kool Moe Dee,
Big Daddy Kane,
Louis and Bebe Barron,
Terry Callier,
Skriet,
World's Most,
The Moody Blues,
Outsiders,
Yusef Lateef,
Sandy B,
Crime,
Flipper,
Bauhaus,
Nirvana,
Scratch Acid,
Circle Jerks,
FM Einheit,
Andrew Ashong & Theo Parrish,
The Doobie Brothers,
The Alarm Clocks,
Rhythm & Sound,
The Detroit Cobras,
Kaleidoscope,
Thompson Twins,
Alison Limerick,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
This Heat,
Half Japanese,
The Dirtbombs,
The Flesh Eaters,
Crash Course in Science,
Royal Trux,
Organ,
the Swans,
The Moleskins,
The Black Dice,
Chrome,
Jeru the Damaja,
Cal Tjader,
John Coltrane,
Country Joe & The Fish,
Basic Channel,
Donny Hathaway,
Skaos,
Public Image Ltd.,
Sister Nancy,
Avey Tare & Kría Brekkan,
Susan Cadogan,
Hardrive, Hardrive, Hardrive, Hardrive.
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.