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 Egypt 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 1961 to 1977.
I'm losing my edge.
To all the kids in Manchester and Lille.
I'm losing my edge to the art-school Paris 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 United States of America to the rap 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 Black Bananas. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal punk 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 a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Inner City,
Rakim,
KRS-One,
OOIOO,
Max Romeo,
Massinfluence,
Marmalade,
Smog,
T.S.O.L.,
Glenn Branca,
Pole,
Tropical Tobacco,
Aloha Tigers,
Bluetip,
Aaron Thompson,
Idris Muhammad,
Kaleidoscope,
Ponytail,
Minny Pops,
Tears for Fears,
China Crisis,
Man Eating Sloth,
Funky Four + One,
Prince Buster,
Pete Rock & C.L. Smooth,
Barclay James Harvest,
Japan,
Ultravox,
Patti Smith,
Leonard Cohen,
Bootsy Collins,
Dawn Penn,
Sound Behaviour,
Gang of Four,
Khruangbin,
Slave,
The Young Rascals,
ABBA,
Sixth Finger,
Kool G Rap & DJ Polo,
The Doobie Brothers,
Banda Bassotti,
The Divine Comedy,
Erasure,
Soft Machine,
James Chance & The Contortions,
Absolute Body Control,
MC5,
Sonny Sharrock,
Selector Dub Narcotic,
Albert Ayler,
Cluster,
Jesper Dahlbäck,
Fat Boys,
48th St. Collective,
Duran Duran,
A Flock of Seagulls,
Crooked Eye,
Gabor Szabo,
Sugar Minott,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.