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 Korea South and from Tokyo.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Manila 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the oboe 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 Schoolly D to the electroclash kids.
I played it at the Hacienda.
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 The Star Department. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Rotary Connection 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 '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Pere Ubu,
Half Japanese,
Zapp,
The Slits,
The Fugs,
Arthur Verocai,
Oneida,
Magma,
Nico,
Scan 7,
Brand Nubian,
Saccharine Trust,
Unrelated Segments,
MDC,
Cybotron,
Morten Harket,
The Fall,
Ituana,
The Seeds,
The Litter,
A Certain Ratio,
Minny Pops,
Amazonics,
Oppenheimer Analysis,
Black Bananas,
Frankie Knuckles,
the Bar-Kays,
Piero Umiliani,
The Toasters,
the Germs,
The Modern Lovers,
Marshall Jefferson,
Massinfluence,
Model 500,
DeepChord presents Echospace,
Pharaoh Sanders and the Fire Engines,
Crispy Ambulance,
Gong,
Man Parrish,
Flipper,
Tomorrow,
Can,
Yusef Lateef,
Todd Rundgren,
48th St. Collective,
The Sisters of Mercy,
Young Marble Giants,
MC5,
The Selecter,
Scientists,
Hasil Adkins,
X-102,
Larry & the Blue Notes,
Funkadelic,
Minor Threat,
Boredoms,
Skriet,
Andrew Hill,
Sun Ra Arkestra,
Deepchord,
The Slackers, The Slackers, The Slackers, The Slackers.
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.