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 Bahrain and from Taipei.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
I'm losing my edge to the art-school London 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 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 Bang On A Can to the crunk kids.
I played it at the Hacienda.
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 Fat Boys. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal rock 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 a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Bobby Sherman,
Gian Franco Pienzio,
The Cure,
Flipper,
Alice Coltrane,
Cabaret Voltaire,
Avey Tare,
Ohio Players,
Mad Mike,
Sugar Minott,
New York Dolls,
Sexual Harrassment,
Slave,
Tim Buckley,
The West Coast Pop Art Experimental Band,
Japan,
Spoonie Gee,
Eve St. Jones,
Super Lover Cee & Casanova Rud,
New Order,
Moby Grape,
The Fuzztones,
Neil Young,
the Germs,
Thinking Fellers Union Local 282,
Barclay James Harvest,
Susan Cadogan,
Ossler,
Tubeway Army,
Negative Approach,
David Axelrod,
Thompson Twins,
Aaron Thompson,
Sight & Sound,
Angry Samoans,
Archie Shepp,
Soft Cell,
Gang Green,
Pussy Galore,
Circle Jerks,
Derrick Morgan,
Throbbing Gristle,
The Men They Couldn't Hang,
Theoretical Girls,
Dennis Brown,
T.S.O.L.,
Nas,
The Birthday Party,
Mission of Burma,
In Retrospect,
Deepchord,
Soulsonic Force,
Animal Collective,
the Association,
Manfred Mann's Earth Band,
Gil Scott-Heron & Brian Jackson,
Jesper Dahlback,
Sly & The Family Stone,
Notorious BIG live in Amsterdam,
Cheater Slicks,
Bob Dylan,
Delon & Dalcan,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.