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 Namibia and from Bologna.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
I'm losing my edge to the art-school Manchester 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Ultra Naté to the rock kids.
I played it at the Crocodile.
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 Human League. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Index,
Monolake,
the Normal,
Marmalade,
Y Pants,
Black Flag,
Eurythmics,
Aural Exciters,
Echospace,
World's Most,
Robert Wyatt,
Icehouse,
Angry Samoans,
Erasure,
T. Rex,
Minny Pops,
The Gladiators,
Rakim,
The Doors,
Lakeside,
Organ,
Mark Hollis,
Can,
The Electric Prunes,
B.T. Express,
Silicon Teens,
Pere Ubu,
Todd Rundgren,
Siglo XX,
Matthew Halsall,
The Barracudas,
Loose Ends,
Moss Icon,
Half Japanese,
Louis and Bebe Barron,
Gil Scott Heron,
The Beau Brummels,
Bill Near,
Fela Kuti,
Grandmaster Flash and the Furious Five,
The Monks,
Joey Negro,
John Cale,
Neil Young & Crazy Horse,
Groovy Waters,
The Fire Engines,
Al Stewart,
AZ,
Clear Light,
Avey Tare,
John Coltrane,
Mandrill,
Public Image Ltd.,
Young Marble Giants,
New Order,
Model 500,
Freddie Wadling,
Rosa Yemen,
Erykah Badu,
China Crisis,
Eric B and Rakim,
Eden Ahbez,
Rahsaan Roland Kirk,
Fugazi, Fugazi, Fugazi, Fugazi.
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.