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 Ethiopia and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Manila 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 synthesizer 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 The Residents to the rock kids.
I played it at the Spitz.
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 Scott Walker. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Juan Atkins 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 rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Toni Rubio record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Marmalade,
Josef K,
CMW,
The Dead C,
Black Bananas,
the Soft Cell,
Sandy B,
Slave,
Sonny Sharrock,
Skarface,
Joe Smooth,
Pharaoh Sanders and the Fire Engines,
Kerrie Biddell,
Don Cherry,
This Heat,
Public Image Ltd.,
ABBA,
Visionaries,LMNO, T- Love & Iriscience,
L. Decosne,
Major Organ And The Adding Machine,
Mr. Review,
Tim Buckley,
Sight & Sound,
Audionom,
Gang of Four,
Lee Hazlewood,
Kaleidoscope,
Todd Terry,
De La Soul & Jungle Brothers,
The Modern Lovers,
Albert Ayler,
Tomorrow,
Pole,
Adolescents,
Curtis Mayfield,
The Electric Prunes,
Rosa Yemen,
Richard Hell and the Voidoids,
David Bowie,
Sound Behaviour,
Bobbi Humphrey,
Mark Hollis,
The Flesh Eaters,
Cymande,
The Buckinghams,
Bobby Hutcherson,
Cabaret Voltaire,
Amon Düül II,
Throbbing Gristle,
Saccharine Trust,
Lakeside,
Marc Romboy vs. Booka Shade,
Warren Ellis,
Nils Olav,
The Music Machine,
Jawbox,
Suburban Knight,
Letta Mbulu,
Deadbeat,
Amazonics,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.