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 Seychelles and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Portland 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Spandau Ballet to the disco kids.
I played it at the Spitz.
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 Robert Hood. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Camron Feat. Jay Z And Juelz record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
Outsiders,
KRS-One,
Model 500,
Suicide,
Spandau Ballet,
Radio Birdman,
The Motions,
Todd Rundgren,
Charles Mingus,
Liaisons Dangereuses,
DNA,
Slave,
The Count Five,
Robert Görl,
Hardrive,
Lakeside,
Althea and Donna,
Reuben Wilson,
The Names,
Jerry Gold Smith,
Kas Product,
The Mummies,
Smog,
The Selecter,
Lou Reed & John Cale,
Bang On A Can,
Ajijia Myrayebe,
Glenn Branca,
The J.B.'s,
Siglo XX,
Nas,
Rowland S Howard / Lydia Lunch,
Hoover,
Thee Headcoats,
John Holt,
Ludus,
Scratch Acid,
Wire,
Don Cherry,
Average White Band,
Visionaries,LMNO, T- Love & Iriscience,
Terrestrial Tones,
Half Japanese,
Man Parrish,
Harry Pussy,
Al Stewart,
The Barracudas,
Siouxsie and the Banshees,
T. Rex,
AZ,
Black Moon,
Robert Wyatt,
Godley & Creme,
Yazoo,
Fugazi,
Blancmange,
The Kinks,
cv313,
Young Marble Giants,
Vaughan Mason & Crew,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.