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 Eritrea and from Toronto.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Manila 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 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 Electric Prunes to the grime 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 the Association. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal disco 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 a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
This Heat,
Lee Hazlewood,
Ossler,
The Selecter,
Ronan,
Man Eating Sloth,
the Human League,
Sad Lovers and Giants,
Monolake,
Adolescents,
The Sound,
Strawberry Alarm Clock,
The Men They Couldn't Hang,
Barrington Levy,
Kenny Larkin,
Fugazi,
Big Daddy Kane,
Tim Buckley,
Frankie Knuckles,
Isaac Hayes,
The Tremeloes,
Hoover,
Public Enemy,
Justin Hinds & The Dominoes,
Harry Pussy,
Blossom Toes,
Stetsasonic,
Wolf Eyes,
Fort Wilson Riot,
Orchestral Manoeuvres in the Dark,
Echo & the Bunnymen,
The Cosmic Jokers,
Cybotron,
Red Lorry Yellow Lorry,
the Germs,
Cheater Slicks,
Manfred Mann's Earth Band,
John Holt,
De La Soul & Jungle Brothers,
The Names,
The Techniques,
Warsaw,
Nico,
Funky Four + One,
Basic Channel,
Sonic Youth,
Brothers Johnson,
Underground Resistance,
Moby Grape,
Gerry Rafferty,
Soul II Soul,
Amon Düül II,
Henry Cow,
Monks,
The Skatalites,
Scion,
Jesper Dahlback,
The Raincoats,
Mr. Review,
Jeff Mills,
The Zeros,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.