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 Australia and from Mumbai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Milan 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Ultra Naté to the punk 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 T.S.O.L.. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Gastr Del Sol,
The Techniques,
Super Lover Cee & Casanova Rud,
The Cure,
PIL,
Visage,
X-102,
Bill Wells,
Clear Light,
The Royal Family And The Poor,
Circle Jerks,
Easy Going,
Television,
Banda Bassotti,
Roger Hodgson,
Jimmy McGriff,
Curtis Mayfield,
Sarah Menescal,
Black Bananas,
Ronnie Foster,
Al Stewart,
John Cale,
Sparks,
U.S. Maple,
Kaleidoscope,
Shuggie Otis,
It's A Beautiful Day,
Junior Murvin,
Sound Behaviour,
The Toasters,
Captain Beefheart & His Magic Band,
Derrick May,
Jawbox,
Liliput,
Graham Central Station,
KRS-One,
Jeru the Damaja,
Vainqueur,
Pharoah Sanders,
Los Fastidios,
Aswad,
Jandek,
Cymande,
The Five Americans,
Con Funk Shun,
T.S.O.L.,
Leonard Cohen,
Crime,
Section 25,
Gil Scott-Heron and Jamie xx,
Franke,
Robert Wyatt,
Alphaville,
DJ Sneak,
The Motions,
Tom Boy,
Quadrant,
Joe Finger,
Kauko Röyhkä ja Narttu,
Lonnie Liston Smith,
Royal Trux,
Piero Umiliani,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.