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 Seychelles and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
I'm losing my edge to the art-school Johannesburg 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 synthesizer 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 Iggy Pop to the crunk 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 Japan. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Lee Hazlewood 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Rowland S Howard / Lydia Lunch,
The Neon Judgement,
Kayak,
Larry & the Blue Notes,
The Cowsills,
Stereo Dub,
The Knickerbockers,
The Last Poets,
Roxette,
The New Christs,
Sun Ra Arkestra,
48th St. Collective,
F. McDonald,
Black Moon,
David Bowie,
Notorious Big And Bone Thugs,
Freddie Wadling,
Lightning Bolt,
Traffic Nightmare,
U.S. Maple,
Zero Boys,
Nik Kershaw,
The Monks,
Qualms,
Liliput,
Sight & Sound,
Derrick Morgan,
Unrelated Segments,
Liaisons Dangereuses,
Groovy Waters,
KRS-One,
Depeche Mode,
Hashim,
Robert Wyatt,
Boz Scaggs,
Urselle,
Chrome,
MDC,
Brand Nubian,
The Dave Clark Five,
Soulsonic Force,
The Raincoats,
The Fire Engines,
MC5,
Judy Mowatt,
Popol Vuh,
Flash Fearless,
Swans,
Quando Quango,
the Germs,
Altered Images,
The Star Department,
Barrington Levy,
Arab on Radar,
Cecil Taylor,
Brick,
Von Mondo,
Fear,
Vladislav Delay,
Bill Wells,
The Sound,
Joyce Sims,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.