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 Japan and from Portland.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Tehran.
I'm losing my edge to the art-school Mexico City 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 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 Robert Hood to the dance kids.
I played it at the Crocodile.
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 Lou Reed & John Cale. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every The Leaves record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Soul Sonic Force,
Tubeway Army,
Interpol,
The Black Dice,
Swell Maps,
Clear Light,
Public Enemy,
Camouflage,
The Golliwogs,
Notorious Big And Bone Thugs,
Beasts of Bourbon,
10cc,
Peter Gordon & Love of Life Orchestra,
Moby Grape,
Electric Light Orchestra,
Scientists,
Los Fastidios,
Red Lorry Yellow Lorry,
OOIOO,
The Dave Clark Five,
Fear,
The Alarm Clocks,
Spandau Ballet,
Fat Boys,
Michelle Simonal,
Art Ensemble Of Chicago,
The Music Machine,
Godley & Creme,
Pere Ubu,
Symarip,
Thompson Twins,
Warsaw,
The Toasters,
Robert Görl,
Sound Behaviour,
The Smoke,
Roxy Music,
MDC,
Shuggie Otis,
The Dead C,
Lebanon Hanover,
Sight & Sound,
Pulsallama,
Surgeon,
the Swans,
Althea and Donna,
Reuben Wilson,
Dr. Dre and Snoop Doggy Dog,
Al Stewart,
Rakim,
48th St. Collective,
Bauhaus,
Alice Coltrane,
Erykah Badu,
Parry Music,
Warren Ellis,
Johnny Clarke,
Glenn Branca,
the Soft Cell,
John Coltrane,
New York Dolls,
The Slackers, The Slackers, The Slackers, The Slackers.
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.