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 Tuvalu and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Hong Kong.
I'm losing my edge to the art-school Calgary 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 marimba sounds with much patience.
I was there when Lou Reed 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 Zeros to the crunk kids.
I played it at Trash.
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 Bill Near. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Dennis Brown,
Easy Going,
Sound Behaviour,
Visage,
The Remains,
Rotary Connection,
Gerry Rafferty,
Chrome,
In Retrospect,
The Techniques,
Ronan,
Notorious Big And Bone Thugs,
Grandmaster Flash,
Cecil Taylor,
Rekid,
Bang on a Can All-Stars,
Pulsallama,
T. Rex,
Big Daddy Kane,
Gang Gang Dance,
Captain Beefheart & His Magic Band,
Aural Exciters,
Sad Lovers and Giants,
Selector Dub Narcotic,
Black Flag,
Justin Hinds & The Dominoes,
Dead Boys,
Y Pants,
Davy DMX,
Roy Ayers,
Harpers Bizarre,
The Invisible,
Marvin Gaye,
The Skatalites,
Jerry's Kids,
Kas Product,
Erasure,
Minnie Riperton,
New Age Steppers,
Ken Boothe,
Clear Light,
The Real Kids,
Gabor Szabo,
T.S.O.L.,
Magazine,
Ralphi Rosario,
The Grass Roots,
Jerry Gold Smith,
Howard Jones,
Flash Fearless,
The Blues Magoos,
Roxette,
ABBA,
The Beau Brummels,
Guru Guru,
Brick,
Bauhaus,
X-Ray Spex,
Soft Machine,
Crooked Eye,
Alison Limerick,
Rod Modell,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.