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 Solomon Islands and from Manila.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Columbus and New York.
I'm losing my edge to the art-school Tehran 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 Human League practice in a loft in Sheffield.
I was working on the linndrum 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 Arab on Radar to the dance kids.
I played it at the Roxy.
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 Aswad. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
David McCallum,
Sparks,
The Standells,
The Sound,
Mars,
Pylon,
Sunsets and Hearts,
Eric B and Rakim,
The Sisters of Mercy,
In Retrospect,
Sexual Harrassment,
Country Teasers,
Lower 48,
Mr. Review,
Suburban Knight,
Kerri Chandler,
Jerry's Kids,
Zapp,
R.M.O.,
Roger Hodgson,
Stereo Dub,
Joe Smooth,
Max Romeo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Buckinghams,
Moebius,
The Doors,
Crispy Ambulance,
Half Japanese,
Liliput,
The Flesh Eaters,
Matthew Halsall,
Ornette Coleman,
Con Funk Shun,
Ultra Naté,
Newcleus,
Crime,
Rhythm & Sound,
X-102,
The Angels of Light,
Harmonia,
The United States of America,
Al Stewart,
The Gories,
Marine Girls,
The Busters,
Basic Channel,
Visionaries,LMNO, T- Love & Iriscience,
Rowland S Howard / Lydia Lunch,
The Modern Lovers,
Man Eating Sloth,
Popol Vuh,
Thee Headcoats,
Eden Ahbez,
Marshall Jefferson,
Lightning Bolt,
Sun Ra Arkestra,
Minutemen,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.