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 France and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Manila and Copenhagen.
I'm losing my edge to the art-school Stockholm 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Lee Hazlewood to the funk kids.
I played it at the Astoria.
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 Junior Murvin. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
The Cure,
Ultra Naté,
H. Thieme,
Sun Ra Arkestra,
Ajijia Myrayebe,
The Detroit Cobras,
Godley & Creme,
Super Lover Cee & Casanova Rud,
Scan 7,
The Five Americans,
Make Up,
Howard Jones,
KRS-One,
The Star Department,
8 Eyed Spy,
Sixth Finger,
Jeff Lynne,
The Move,
Funky Four + One,
Subhumans,
Yellowson,
China Crisis,
The Birthday Party,
Chris Corsano,
MC5,
Joyce Sims,
The Peanut Butter Conspiracy,
48th St. Collective,
Icehouse,
Funkadelic,
Robert Hood,
The Smiths,
James Chance & The Contortions,
Ice-T,
Deadbeat,
Hasil Adkins,
Gang Green,
Eden Ahbez,
The Gories,
Fifty Foot Hose,
Country Joe & The Fish,
Fatback Band,
Eli Mardock,
Absolute Body Control,
Flamin' Groovies,
Kurtis Blow,
Crash Course in Science,
Loose Ends,
Traffic Nightmare,
Sonny Sharrock,
Sex Pistols,
Pharaoh Sanders and the Fire Engines,
Quadrant,
Fear,
Bronski Beat,
The Dirtbombs,
Grandmaster Flash and the Furious Five,
Grey Daturas,
Half Japanese,
London Community Gospel Choir,
Supertramp,
Vaughan Mason & Crew,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.