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 Papua New Guinea and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Portland.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the 808 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 Lower 48 to the rap kids.
I played it at the Roxy.
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 Isaac Hayes. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Amon Düül,
Gil Scott Heron,
Main Source,
Mark Hollis,
The Pop Group,
Moss Icon,
Soft Machine,
Mary Jane Girls,
Steve Hackett,
Flipper,
Brand Nubian,
Michelle Simonal,
David Axelrod,
Beasts of Bourbon,
Dave Gahan,
The Cramps,
The Litter,
Wally Richardson,
The Leaves,
Faraquet,
Mandrill,
The Techniques,
Pet Shop Boys,
Art Ensemble Of Chicago,
The Moody Blues,
Sexual Harrassment,
The Motions,
Gang of Four,
Chrome,
Icehouse,
Dr. Dre and Snoop Doggy Dog,
Eric Dolphy,
Chris Corsano,
Bill Near,
The Saints,
Fat Boys,
Bronski Beat,
Lou Reed,
Richard Hell and the Voidoids,
Boredoms,
Maleditus Sound,
Henry Cow,
The Fire Engines,
Sarah Menescal,
Tropical Tobacco,
The Modern Lovers,
Fatback Band,
Aural Exciters,
Jeru the Damaja,
Big Daddy Kane,
Rod Modell,
Ituana,
Bobby Hutcherson,
The J.B.'s,
kango's stein massive,
Piero Umiliani,
Camouflage,
Max Romeo,
Lyres,
Nick Fraelich,
Jacob Miller,
DJ Style,
Agitation Free,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.