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 Kiribati and from Taipei.
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 1977.
I'm losing my edge.
To all the kids in London and Lille.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Alton Ellis to the jazz kids.
I played it at CBGB's.
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 Derrick Morgan. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Basic Channel,
Rod Modell,
Letta Mbulu,
The Flesh Eaters,
Chrome,
Kauko Röyhkä ja Narttu,
Richard Hell and the Voidoids,
Howard Jones,
Livin' Joy,
Sun City Girls,
the Swans,
Stereo Dub,
Jacques Brel,
Symarip,
Matthew Halsall,
Pantytec,
Reagan Youth,
Ohio Players,
Erykah Badu,
Unwound,
Scan 7,
Gil Scott Heron,
The Buckinghams,
a-ha,
Pharoah Sanders,
Nation of Ulysses,
Roxy Music,
B.T. Express,
Stiv Bators,
Brothers Johnson,
Heavy D & The Boyz,
Prince Buster,
Rapeman,
Bob Dylan,
Boredoms,
L. Decosne,
Charles Mingus,
Neu!,
Black Pus,
Nico,
Blancmange,
Selector Dub Narcotic,
The Mojo Men,
Surgeon,
the Bar-Kays,
Pierre Henry,
Accadde A,
Orchestral Manoeuvres in the Dark,
These Immortal Souls,
Tommy Roe,
Spandau Ballet,
Henry Cow,
Radio Birdman,
Inner City,
The Fortunes,
Ronan,
Godley & Creme,
the Germs,
Slick Rick,
Con Funk Shun,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.