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 Sri Lanka and from Paris.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Seoul and Jakarta.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin 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 Gang Green to the funk 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 Icehouse. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
MC5,
Cabaret Voltaire,
Crash Course in Science,
Panda Bear,
Graham Central Station,
The Toasters,
Half Japanese,
Popol Vuh,
Liaisons Dangereuses,
Tommy Roe,
The Slackers,
Public Enemy,
Q65,
Gil Scott Heron,
Marine Girls,
Dead Boys,
Derrick Morgan,
The Blackbyrds,
Slave,
Eric Dolphy,
Judy Mowatt,
Ohio Players,
The Motions,
R.M.O.,
Desert Stars,
Monks,
DJ Style,
Guru Guru,
Grandmaster Flash and the Furious Five,
PIL,
Section 25,
Jandek,
Heaven 17,
Sex Pistols,
Dr. Dre and Snoop Doggy Dog,
Camberwell Now,
The Invisible,
Oppenheimer Analysis,
Visage,
Amon Düül,
Vainqueur,
Ludus,
Minutemen,
Rakim,
Adolescents,
Aaron Thompson,
Notorious BIG live in Amsterdam,
The Pretty Things,
Avey Tare's Slasher Flicks,
The Selecter,
ABBA,
Lalo Schifrin,
La Düsseldorf,
Erykah Badu,
The Vogues,
Sexual Harrassment,
T.S.O.L.,
Warsaw,
Lebanon Hanover,
Wire,
Erasure, Erasure, Erasure, Erasure.
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.