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 Dominica and from Edmonton.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Portland and Beijing.
I'm losing my edge to the art-school Mumbai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Iggy Pop to the crunk 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 John Holt. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Lightning Bolt,
Public Image Ltd.,
The Motions,
Angry Samoans,
Arcadia,
Deakin,
Robert Hood,
The Tremeloes,
Radio Birdman,
Tubeway Army,
Black Moon,
Q and Not U,
The Martian,
David Axelrod,
Tears for Fears,
The Cure,
Tommy Roe,
Be Bop Deluxe,
Pharaoh Sanders and the Fire Engines,
Juan Atkins,
The Raincoats,
Marcia Griffiths,
Sonic Youth,
Bill Near,
Pulsallama,
Young Marble Giants,
Parry Music,
Groovy Waters,
Josef K,
Jacob Miller,
Röyhkä ja Rättö ja Lehtisalo,
Cameo,
Donald Byrd,
Al Stewart,
Lindisfarne,
Janne Schatter,
The Slackers,
The Busters,
Monolake,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ultravox,
Cymande,
Man Eating Sloth,
John Lydon,
Magma,
Matthew Halsall,
Patti Smith,
World's Most,
the Association,
Barrington Levy,
Rites of Spring,
Black Pus,
Unrelated Segments,
Electric Prunes,
PIL,
Heaven 17,
The Star Department,
Jerry's Kids,
Maurizio,
Dark Day,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.