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 Bosnia Herzegovina and from Jakarta.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lagos and Madrid.
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 arpeggiator 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 Rahsaan Roland Kirk to the punk kids.
I played it at Cafe Wha.
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 Cymande. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Siglo XX,
Schoolly D,
David Axelrod,
Captain Beefheart & His Magic Band,
Ice-T,
Ossler,
Oppenheimer Analysis,
London Community Gospel Choir,
Dawn Penn,
Lou Reed & Metallica,
Excepter,
The Modern Lovers,
the Human League,
Nation of Ulysses,
Angry Samoans,
The Cure,
Sight & Sound,
Public Image Ltd.,
Bobby Byrd,
Deakin,
Eyeless In Gaza,
The Fuzztones,
Nas,
T. Rex,
The Detroit Cobras,
The Monochrome Set,
Roy Ayers Ubiquity,
Surgeon,
Intrusion,
the Bar-Kays,
Circle Jerks,
Mission of Burma,
Newcleus,
The Zeros,
New York Dolls,
the Swans,
Pantytec,
One Last Wish,
Dave Gahan,
The Gun Club,
The Selecter,
The Black Dice,
Sister Nancy,
Rahsaan Roland Kirk,
The Move,
Donny Hathaway,
Lakeside,
Soulsonic Force,
Darondo,
Peter and Kerry,
Gil Scott Heron,
Das Ding,
Gichy Dan,
Sonic Youth,
Popol Vuh,
Can,
10cc,
Negative Approach,
Laurel Aitken,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.