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 Antigua and from Woodstock.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Shanghai 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 clarinet 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 Visage to the grunge kids.
I played it at CBGB's.
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 The Remains. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every The Trojans 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby 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?
Bobby Womack,
Byron Stingily,
London Community Gospel Choir,
The Doobie Brothers,
Quantec,
B.T. Express,
The Wake,
Depeche Mode,
Mission of Burma,
The Fuzztones,
Sugar Minott,
Rapeman,
The New Christs,
Duran Duran,
Barrington Levy,
Joe Smooth,
Avey Tare's Slasher Flicks,
T.S.O.L.,
Wolf Eyes,
Talk Talk,
The Moleskins,
Fela Kuti,
Gang Green,
Kerrie Biddell,
The Walker Brothers,
Sound Behaviour,
Rotary Connection,
the Soft Cell,
The Victims,
The Sound,
Swell Maps,
Surgeon,
Rufus Thomas,
Lonnie Liston Smith,
Rakim,
Lower 48,
Pere Ubu,
Pole,
Nas,
The Stooges,
Angry Samoans,
Soft Machine,
Unwound,
The Grass Roots,
The Blues Magoos,
Lalann,
Fatback Band,
Bluetip,
Monks,
Electric Light Orchestra,
Visage,
Gichy Dan,
Flash Fearless,
Fifty Foot Hose,
Deadbeat,
UT,
Bush Tetras,
48th St. Collective,
The Happenings,
Television,
Junior Murvin,
Robert Wyatt,
Main Source, Main Source, Main Source, Main Source.
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.