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 Sri Lanka and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Tehran and Bremen.
I'm losing my edge to the art-school Copenhagen 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 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 the Swans to the disco kids.
I played it at the Astoria.
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 Archie Shepp. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal funk 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 snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Charles Mingus,
Icehouse,
Boogie Down Productions,
Cal Tjader,
Soft Cell,
Bill Near,
The American Breed,
X-Ray Spex,
The Busters,
Althea and Donna,
Radiopuhelimet,
Talk Talk,
Eden Ahbez,
London Community Gospel Choir,
Deepchord,
A Flock of Seagulls,
Peter Gordon & Love of Life Orchestra,
Pierre Henry,
Wings,
The Gladiators,
Lee Hazlewood,
Camouflage,
Bizarre Inc.,
X-101,
Popol Vuh,
Crispy Ambulance,
Kauko Röyhkä ja Narttu,
Susan Cadogan,
Sunsets and Hearts,
The Blues Magoos,
The Litter,
Johnny Osbourne,
ABBA,
Gabor Szabo,
Richard Hell and the Voidoids,
Girls At Our Best!,
Drive Like Jehu,
The Residents,
Anakelly,
Circle Jerks,
The Names,
Alphaville,
Maleditus Sound,
The Remains,
ABC,
Scrapy,
Marvin Gaye,
Kenny Larkin,
Grandmaster Flash and the Furious Five,
Sam Rivers,
Gary Puckett & The Union Gap,
Sly & The Family Stone,
Sad Lovers and Giants,
Gichy Dan,
The Victims,
Avey Tare & Kría Brekkan,
Piero Umiliani,
Vaughan Mason & Crew,
Severed Heads,
Man Parrish,
The Zeros, The Zeros, The Zeros, The Zeros.
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.