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 Cambodia and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 The Saints to the crunk 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 Selector Dub Narcotic. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Gerry Rafferty 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Scrapy,
The Pop Group,
Joensuu 1685,
Marvin Gaye,
Harpers Bizarre,
Deepchord,
Chrome,
Ajijia Myrayebe,
The West Coast Pop Art Experimental Band,
The Gun Club,
Rakim,
Tears for Fears,
Boogie Down Productions,
Tres Demented,
Yazoo,
Rod Modell,
Vaughan Mason & Crew,
Von Mondo,
Bronski Beat,
Sister Nancy,
Manfred Mann's Earth Band,
Idris Muhammad,
Ultramagnetic MC's,
Boredoms,
Bush Tetras,
Blancmange,
Lee Hazlewood,
Nick Fraelich,
Lonnie Liston Smith,
Talk Talk,
Roxette,
Electric Light Orchestra,
Mark Hollis,
Ossler,
Sun Ra,
Sonny Sharrock,
E-Dancer,
The Pretty Things,
Piero Umiliani,
The Divine Comedy,
Dark Day,
Soft Cell,
Minor Threat,
Audionom,
Pharoah Sanders,
Amon Düül II,
Swell Maps,
Intrusion,
Matthew Bourne,
La Düsseldorf,
Sex Pistols,
Goldenarms,
The Standells,
Japan,
Erasure,
Wire,
Carl Craig,
Grandmaster Flash and the Furious Five,
Amon Düül,
Bad Manners,
The Birthday Party,
Lyres, Lyres, Lyres, Lyres.
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.