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 Tajikistan and from Winnipeg.
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 1976.
I'm losing my edge.
To all the kids in Manila and New York.
I'm losing my edge to the art-school Shanghai 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 Mistral practice in a loft in Amsterdam.
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 The American Breed to the disco 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 David McCallum. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Franke,
Sunsets and Hearts,
Amon Düül,
Ultra Naté,
Avey Tare,
Panda Bear,
Mo-Dettes,
June Days,
PIL,
Sight & Sound,
Warren Ellis,
Hardrive,
Shuggie Otis,
Nico,
Lou Reed & John Cale,
The Wake,
Gichy Dan,
X-102,
Tropical Tobacco,
Sticky Fingaz feat. Raekwon,
Tres Demented,
the Germs,
Grauzone,
Angry Samoans,
Rosa Yemen,
Siouxsie and the Banshees,
Graham Central Station,
Urselle,
Fear,
Nick Fraelich,
Pantaleimon,
Flipper,
Rhythim Is Rhythim,
Derrick May,
Kayak,
Roy Ayers Ubiquity,
Ultramagnetic MC's,
The Neon Judgement,
The Durutti Column,
Gregory Isaacs,
X-Ray Spex,
48th St. Collective,
Electric Prunes,
Mission of Burma,
The Move,
Au Pairs,
Anakelly,
Eden Ahbez,
T.S.O.L.,
Agent Orange,
The Associates,
Icehouse,
The Electric Prunes,
Crime,
T. Rex,
Goldenarms,
Crooked Eye,
One Last Wish,
Kool G Rap & DJ Polo,
Sound Behaviour,
Monks, Monks, Monks, Monks.
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.