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 Ivory Coast and from Sao Paulo.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Bologna 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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar 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 Masters at Work to the rock kids.
I played it at Cafe Wha.
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 Alison Limerick. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
the Slits,
Television Personalities,
Lou Christie,
the Fania All-Stars,
Rahsaan Roland Kirk,
Siglo XX,
Don Cherry,
Sexual Harrassment,
Motorama,
The West Coast Pop Art Experimental Band,
Mr. Review,
The Remains,
Faraquet,
Fat Boys,
The Modern Lovers,
The Victims,
Q and Not U,
Chris & Cosey,
the Human League,
Hashim,
Anakelly,
Bizarre Inc.,
Second Layer,
Ronan,
The Walker Brothers,
Avey Tare's Slasher Flicks,
DeepChord presents Echospace,
Shuggie Otis,
The Tremeloes,
Mantronix,
Gil Scott-Heron and Jamie xx,
The Monks,
Wasted Youth,
Robert Görl,
AZ,
Barclay James Harvest,
Kings Of Tomorrow,
Alphaville,
Bill Wells,
The Mojo Men,
Mary Jane Girls,
Deutsch Amerikanische Freundschaft,
Susan Cadogan,
Marmalade,
James White and The Blacks,
John Foxx,
Blossom Toes,
Jacob Miller,
John Coltrane,
The Grass Roots,
Rufus Thomas,
Lungfish,
The Dave Clark Five,
Oneida,
The Smiths,
Unwound,
the Sonics,
Avey Tare & Kría Brekkan,
Sonic Youth,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.