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 Somalia and from Sao Paulo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Beijing 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 808 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 The Kinks to the electroclash 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 Althea and Donna. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Barbara Tucker,
Josef K,
Zero Boys,
Sällskapet,
The Standells,
Magazine,
Procol Harum,
Strawberry Alarm Clock,
Fad Gadget,
Shoche,
Quantec,
The Skatalites,
Funkadelic,
Gian Franco Pienzio,
The Moleskins,
Sarah Menescal,
The Fall,
Pantytec,
Boogie Down Productions,
Lou Reed & Metallica,
One Last Wish,
Newcleus,
Porter Ricks,
Mantronix,
B.T. Express,
Suicide,
The Young Rascals,
Anakelly,
48th St. Collective,
Half Japanese,
Nas,
Country Teasers,
Arthur Verocai,
The West Coast Pop Art Experimental Band,
Scion,
John Lydon,
Sly & The Family Stone,
Delon & Dalcan,
The Busters,
Piero Umiliani,
Bobby Hutcherson,
Sparks,
The Doors,
Sonic Youth,
Bang On A Can,
Kauko Röyhkä ja Narttu,
The Barracudas,
The Peanut Butter Conspiracy,
Inner City,
Jawbox,
Pharaoh Sanders and the Fire Engines,
Avey Tare's Slasher Flicks,
The Grass Roots,
Justin Hinds & The Dominoes,
Joey Negro,
PIL,
John Foxx,
Minor Threat,
Freddie Wadling,
Lou Reed,
Alice Coltrane,
Crash Course in Science,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.