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 Ethiopia and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
I'm losing my edge to the art-school Delhi 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Matthew Halsall to the punk kids.
I played it at Cafe Wha.
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 Spandau Ballet. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Joe Smooth,
the Bar-Kays,
Manfred Mann's Earth Band,
Sonic Youth,
Arcadia,
Ajijia Myrayebe,
Traffic Nightmare,
Terry Callier,
Subhumans,
Pagans,
Porter Ricks,
China Crisis,
The Associates,
Parry Music,
The Durutti Column,
Underground Resistance,
Lou Reed,
Sound Behaviour,
Judy Mowatt,
Television Personalities,
Selector Dub Narcotic,
Crispian St. Peters,
Pulsallama,
The Offenders,
Dennis Brown,
Rowland S Howard / Lydia Lunch,
Cluster,
Public Image Ltd.,
Pussy Galore,
Roxette,
Howard Jones,
Johnny Clarke,
The Martian,
Nils Olav,
The Cosmic Jokers,
FM Einheit,
the Germs,
Stetsasonic,
Isaac Hayes,
Thompson Twins,
Bang on a Can All-Stars,
Rod Modell,
Fatback Band,
Monks,
Tropical Tobacco,
Gary Puckett & The Union Gap,
The Zeros,
The Toasters,
Throbbing Gristle,
The Residents,
the Association,
The Young Rascals,
Erykah Badu,
Maurizio,
Half Japanese,
H. Thieme,
The Vogues,
Lucky Dragons,
The Grass Roots,
Desert Stars,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.