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 Somalia and from Winnipeg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Seoul and Woodstock.
I'm losing my edge to the art-school Winnipeg 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 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 Cabaret Voltaire to the techno 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 The Mojo Men. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Janne Schatter record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Todd Terry,
Kauko Röyhkä ja Narttu,
Alison Limerick,
Ultravox,
Avey Tare's Slasher Flicks,
Underground Resistance,
Bobby Hutcherson,
Toni Rubio,
Monks,
Stereo Dub,
London Community Gospel Choir,
Urselle,
Eric Copeland,
Sly & The Family Stone,
Soul II Soul,
Ossler,
Chrome,
Nik Kershaw,
The Vogues,
Sad Lovers and Giants,
Howard Jones,
Roger Hodgson,
The Martian,
The Peanut Butter Conspiracy,
Qualms,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kool Moe Dee,
Cabaret Voltaire,
Henry Cow,
Malaria!,
The Fortunes,
Delta 5,
Stiv Bators,
Gong,
The Gap Band,
Jacques Brel,
Flash Fearless,
T.S.O.L.,
Pharoah Sanders,
Lungfish,
Bill Near,
LL Cool J,
Gil Scott-Heron & Brian Jackson,
Swell Maps,
Quadrant,
Black Sheep,
Traffic Nightmare,
F. McDonald,
The Black Dice,
Archie Shepp,
Spandau Ballet,
Soft Cell,
The Smiths,
Interpol,
Technova,
The Searchers,
Sarah Menescal,
Man Parrish,
Alphaville,
Be Bop Deluxe,
Deepchord,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.