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 Jamaica and from Copenhagen.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Portland.
I'm losing my edge to the art-school Lagos 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 Buzzcocks practice in a loft in Bolton.
I was working on the harpsichord 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 Arab on Radar to the techno 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 Public Enemy. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Flash Fearless 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Half Japanese,
Lou Reed,
Peter & Gordon,
Heaven 17,
Davy DMX,
Terrestrial Tones,
Bob Dylan,
Silicon Teens,
Subhumans,
Flash Fearless,
Monks,
Teenage Jesus and the Jerks,
Yaz,
Aswad,
the Swans,
Bad Manners,
The Sonics,
Charles Mingus,
Negative Approach,
Porter Ricks,
Robert Görl,
Inner City,
cv313,
Oblivians,
Frankie Knuckles,
Soul II Soul,
Flipper,
Warren Ellis,
Tropical Tobacco,
Arcadia,
Darondo,
In Retrospect,
Sun Ra,
Kauko Röyhkä ja Narttu,
The J.B.'s,
Amon Düül II,
Ice-T,
Black Pus,
Nico,
Pulsallama,
Circle Jerks,
Echospace,
Lee Hazlewood,
New Age Steppers,
Deepchord,
Tommy Roe,
X-102,
Vainqueur,
Eric Dolphy,
Mandrill,
Slave,
Sparks,
Vaughan Mason & Crew,
Crooked Eye,
Ronnie Foster,
The Index,
Ornette Coleman,
Fear,
Nas,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.