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 Estonia and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1977.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Lille 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Negative Approach to the disco kids.
I played it at the 40 Watt.
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 Johnny Clarke. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal funk 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 a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
The Fire Engines,
Roxette,
Heavy D & The Boyz,
Rakim,
Lou Reed & John Cale,
La Düsseldorf,
Orchestral Manoeuvres in the Dark,
Q65,
Louis and Bebe Barron,
The Men They Couldn't Hang,
The Sisters of Mercy,
In Retrospect,
Siglo XX,
The Sound,
Captain Beefheart & His Magic Band,
Can,
Traffic Nightmare,
Au Pairs,
James White and The Blacks,
T.S.O.L.,
Suicide,
Clear Light,
Fear,
Whodini,
Notorious Big And Bone Thugs,
Wolf Eyes,
Nirvana,
R.M.O.,
Average White Band,
Man Parrish,
Yazoo,
Ohio Players,
Brothers Johnson,
Fatback Band,
CMW,
Barry Ungar,
Eli Mardock,
Glambeats Corp.,
Half Japanese,
Judy Mowatt,
H. Thieme,
Simply Red,
Boogie Down Productions,
June of 44,
Rekid,
John Holt,
The United States of America,
Lakeside,
Sällskapet,
Subhumans,
Amazonics,
Sonic Youth,
Prince Buster,
Ten City,
Nico,
Arthur Verocai,
The Standells,
Pere Ubu,
Lou Reed & Metallica,
Vaughan Mason & Crew,
Gang Gang Dance,
Mo-Dettes,
Ultimate Spinach, Ultimate Spinach, Ultimate Spinach, Ultimate Spinach.
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.