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 Cape Verde and from Philadelphia.
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 1976.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 John Cale to the dance kids.
I played it at the Hacienda.
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 Scott Walker. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Henry Cow,
Major Organ And The Adding Machine,
Donny Hathaway,
The Index,
the Sonics,
Rosa Yemen,
The Slackers,
Thee Headcoats,
Tim Buckley,
Larry & the Blue Notes,
The Fire Engines,
Dead Boys,
Eddi Front,
The Gap Band,
Drive Like Jehu,
Dr. Dre and Snoop Doggy Dog,
Bobby Hutcherson,
PIL,
Gian Franco Pienzio,
Grandmaster Flash,
Mars,
Funkadelic,
Juan Atkins,
48th St. Collective,
The Mighty Diamonds,
The Red Krayola,
Zero Boys,
Cecil Taylor,
Marine Girls,
The Dave Clark Five,
The Cosmic Jokers,
Easy Going,
These Immortal Souls,
Boogie Down Productions,
Vladislav Delay,
Peter and Kerry,
John Lydon,
Rakim,
Chrome,
Be Bop Deluxe,
T.S.O.L.,
Faraquet,
Rapeman,
The Birthday Party,
KRS-One,
Soul II Soul,
Mission of Burma,
Gary Puckett & The Union Gap,
Gregory Isaacs,
The West Coast Pop Art Experimental Band,
Silicon Teens,
Gil Scott Heron,
Masters at Work,
Black Bananas,
Black Sheep,
Cymande,
The Buckinghams,
Blancmange,
Altered Images,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.