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 Grenada and from Tokyo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Seoul 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 Captain Beefheart 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 Wasted Youth to the disco 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 Freddie Wadling. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Main Source 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Quadrant,
Red Lorry Yellow Lorry,
John Cale,
Kaleidoscope,
Crooked Eye,
Soul II Soul,
Quando Quango,
Traffic Nightmare,
The Motions,
Gabor Szabo,
The Invisible,
Sad Lovers and Giants,
Skaos,
Wasted Youth,
ABBA,
MDC,
Laurel Aitken,
Kurtis Blow,
H. Thieme,
Stockholm Monsters,
In Retrospect,
Tom Boy,
Average White Band,
Thee Headcoats,
Glambeats Corp.,
Jeff Lynne,
Shoche,
Scott Walker,
Trumans Water,
Marine Girls,
Yusef Lateef,
Echospace,
The Moleskins,
Nation of Ulysses,
Susan Cadogan,
Fatback Band,
Buzzcocks,
Lou Reed,
Y Pants,
Ajijia Myrayebe,
Agent Orange,
Brand Nubian,
The Cure,
Neu!,
The Slits,
Robert Hood,
Kango’s Stein Massive,
Liaisons Dangereuses,
Audionom,
DJ Style,
Ten City,
Avey Tare & Kría Brekkan,
The Flesh Eaters,
The Toasters,
Terror Squad Feat. Camron,
Country Teasers,
Barrington Levy,
Siouxsie and the Banshees,
Dead Boys,
Gang Gang Dance,
Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds.
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.