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 Namibia and from Lagos.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Portland and Beijing.
I'm losing my edge to the art-school Tokyo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare 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 Slits to the jazz kids.
I played it at the Troubador.
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 Idris Muhammad. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Flamin' Groovies 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
D'Angelo,
John Lydon,
Richard Hell and the Voidoids,
Lightning Bolt,
Roxy Music,
Matthew Halsall,
Cheater Slicks,
New Age Steppers,
The Associates,
The Fuzztones,
The Angels of Light,
Section 25,
Arthur Verocai,
The Neon Judgement,
Steve Hackett,
The Skatalites,
The Pop Group,
Quadrant,
The Sound,
The Real Kids,
The Vogues,
Dawn Penn,
The Fire Engines,
Sonny Sharrock,
The Saints,
DNA,
Masters at Work,
The Modern Lovers,
Kaleidoscope,
Audionom,
Groovy Waters,
Traffic Nightmare,
Ultimate Spinach,
Justin Hinds & The Dominoes,
The Divine Comedy,
Toni Rubio,
Excepter,
Gang Green,
Marc Almond,
Mark Hollis,
Fluxion,
Aural Exciters,
Youth Brigade,
Trumans Water,
X-Ray Spex,
Eve St. Jones,
Vainqueur,
Art Ensemble Of Chicago,
LL Cool J,
The Five Americans,
Guru Guru,
Josef K,
T. Rex,
Ponytail,
Al Stewart,
Charles Mingus,
Soft Cell,
Ultramagnetic MC's,
the Slits, the Slits, the Slits, the Slits.
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.