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 Malaysia and from Hong Kong.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Accra and Jakarta.
I'm losing my edge to the art-school Tokyo 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 guitar 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 Sun City Girls to the disco kids.
I played it at CBGB's.
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 The Peanut Butter Conspiracy. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal rap 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Strawberry Alarm Clock,
Dead Boys,
Franke,
Ronan,
Ossler,
Angels of Light & Akron/Family,
Underground Resistance,
JFA,
La Düsseldorf,
Half Japanese,
Fat Boys,
Fatback Band,
Brick,
Leonard Cohen,
Boz Scaggs,
The Doobie Brothers,
The Human League,
Massinfluence,
Kerri Chandler,
Funky Four + One,
Avey Tare,
KRS-One,
Terror Squad Feat. Camron,
Be Bop Deluxe,
Dual Sessions,
The Mojo Men,
Reuben Wilson,
The Fire Engines,
Jawbox,
Outsiders,
Banda Bassotti,
Tommy Roe,
Pantytec,
Susan Cadogan,
Alice Coltrane,
Buzzcocks,
The Residents,
Matthew Bourne,
K-Klass,
Barclay James Harvest,
Roger Hodgson,
Hasil Adkins,
The Neon Judgement,
Popol Vuh,
Robert Görl,
ABC,
Big Daddy Kane,
The Happenings,
Harry Pussy,
Mark Hollis,
Alison Limerick,
Jerry Gold Smith,
Jesper Dahlbäck,
The Cosmic Jokers,
Lonnie Liston Smith,
Joe Smooth,
Skarface,
Blancmange,
Maurizio,
Quadrant,
Gil Scott-Heron & Brian Jackson,
Howard Jones,
The Young Rascals,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.