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 Monaco and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Salvador 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 sitar 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 Glenn Branca to the punk kids.
I played it at the Spitz.
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 Little Man. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
the Bar-Kays,
Visage,
Gil Scott-Heron and Jamie xx,
Goldenarms,
Blossom Toes,
Glambeats Corp.,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Amon Düül II,
Eyeless In Gaza,
The Smoke,
Public Enemy,
Lindisfarne,
The Trojans,
10cc,
Icehouse,
Crispy Ambulance,
Jerry's Kids,
Japan,
Marcia Griffiths,
Skriet,
Das Ding,
Panda Bear,
Quando Quango,
Delta 5,
Joyce Sims,
Crooked Eye,
Quadrant,
Scientists,
The Buckinghams,
The Jesus and Mary Chain,
Lyres,
E-Dancer,
Tropical Tobacco,
Girls At Our Best!,
The Angels of Light,
Ken Boothe,
JFA,
Ossler,
Roger Hodgson,
Toni Rubio,
Fad Gadget,
Easy Going,
Lightning Bolt,
The Remains,
Kauko Röyhkä ja Narttu,
Marc Almond,
Nirvana,
Ash Ra Tempel,
Junior Murvin,
Jeff Lynne,
The Monks,
Manfred Mann's Earth Band,
Terrestrial Tones,
Robert Görl,
Al Stewart,
MC5,
Camouflage,
Gil Scott-Heron & Brian Jackson,
Kool Moe Dee,
Major Organ And The Adding Machine,
Bluetip, Bluetip, Bluetip, Bluetip.
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.