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 Marshall Islands and from Accra.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Beijing and London.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 Jawbox to the dance kids.
I played it at Trash.
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 Silicon Teens. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Marmalade 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 '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
The Smiths,
Johnny Osbourne,
E-Dancer,
Aural Exciters,
Accadde A,
Nas,
the Normal,
Freddie Wadling,
The Dead C,
The Fugs,
Boredoms,
Panda Bear,
Soft Machine,
Avey Tare & Kría Brekkan,
Gregory Isaacs,
LL Cool J,
Japan,
Howard Jones,
Fort Wilson Riot,
Groovy Waters,
Pantytec,
Barclay James Harvest,
the Bar-Kays,
Gil Scott Heron,
the Slits,
Colin Newman,
Harpers Bizarre,
a-ha,
Black Moon,
The Chocolate Watch Band,
The Grass Roots,
These Immortal Souls,
Arab on Radar,
Essential Logic,
The Monks,
The Beau Brummels,
the Germs,
Röyhkä ja Rättö ja Lehtisalo,
Dark Day,
The Misunderstood,
The Remains,
Electric Light Orchestra,
Rakim,
Stereo Dub,
Wally Richardson,
Negative Approach,
The Golliwogs,
Jeru the Damaja,
Lucky Dragons,
10cc,
Oblivians,
Suicide,
The Last Poets,
Soft Cell,
Royal Trux,
Wolf Eyes,
Rufus Thomas,
Rotary Connection,
Crime,
Skarface,
Section 25, Section 25, Section 25, Section 25.
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.