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 Georgia and from Houston.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1978.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Halifax 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 theremin 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 X-Ray Spex to the funk kids.
I played it at the Roxy.
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 Brass Construction. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Delon & Dalcan,
Bronski Beat,
The Motions,
Bill Near,
Unrelated Segments,
Newcleus,
Cal Tjader,
48th St. Collective,
The West Coast Pop Art Experimental Band,
Arab on Radar,
Gerry Rafferty,
Fort Wilson Riot,
Suicide,
Moss Icon,
The Angels of Light,
Yusef Lateef,
Amon Düül,
The Zeros,
Japan,
Skaos,
H. Thieme,
Brand Nubian,
Nation of Ulysses,
R.M.O.,
The Knickerbockers,
Little Man,
Eve St. Jones,
Laurel Aitken,
Captain Beefheart & His Magic Band,
Radiopuhelimet,
Manfred Mann's Earth Band,
The Kinks,
Ludus,
Urselle,
ABC,
Angry Samoans,
Crash Course in Science,
Roxette,
The Busters,
Big Daddy Kane,
Scrapy,
Susan Cadogan,
Chris & Cosey,
Lafayette Afro Rock Band,
Charles Mingus,
Wighnomy Brothers & Robag Wruhme,
Skriet,
Sight & Sound,
The Real Kids,
Fear,
Rahsaan Roland Kirk,
Yazoo,
Letta Mbulu,
Eden Ahbez,
The Slackers,
Camouflage,
Man Eating Sloth,
Sexual Harrassment,
Bang on a Can All-Stars,
Oneida,
Sixth Finger,
Maleditus Sound,
Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam.
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.