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 Malta and from Edmonton.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Manchester 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 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 The Dead C to the crunk kids.
I played it at the Crocodile.
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 Aswad. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
The Selecter,
Blossom Toes,
Symarip,
Magma,
Rakim,
Kerri Chandler,
Little Man,
Black Moon,
Tears for Fears,
Beasts of Bourbon,
The Mighty Diamonds,
Boogie Down Productions,
ABC,
Chrome,
Babytalk,
Cymande,
Terry Callier,
Y Pants,
Todd Terry,
The Fugs,
Slave,
Lonnie Liston Smith,
This Heat,
John Foxx,
James White and The Blacks,
Oppenheimer Analysis,
Captain Beefheart & His Magic Band,
Delta 5,
Electric Light Orchestra,
Radiopuhelimet,
The Tremeloes,
Minnie Riperton,
Max Romeo,
the Germs,
Patti Smith,
Grauzone,
Electric Prunes,
Grandmaster Flash,
Selector Dub Narcotic,
Lee Hazlewood,
Excepter,
The Dirtbombs,
Siouxsie and the Banshees,
The Stooges,
Echo & the Bunnymen,
Angry Samoans,
Suicide,
Organ,
Gian Franco Pienzio,
Scott Walker,
Arcadia,
Schoolly D,
FM Einheit,
Stiv Bators,
The Move,
the Association,
Mandrill,
Inner City,
Bill Wells,
Tommy Roe,
K-Klass,
The Seeds, The Seeds, The Seeds, The Seeds.
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.