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 Estonia and from Manchester.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Manila and Stockholm.
I'm losing my edge to the art-school Bremen 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Marmalade to the crunk kids.
I played it at the Astoria.
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 Bobbi Humphrey. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Donald Byrd 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 '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Ultra Naté,
Oneida,
The Index,
Gang of Four,
48th St. Collective,
June Days,
Bizarre Inc.,
Rakim,
Gichy Dan,
LL Cool J,
DJ Style,
Von Mondo,
Circle Jerks,
The Peanut Butter Conspiracy,
Hardrive,
Albert Ayler,
Popol Vuh,
Spandau Ballet,
Röyhkä ja Rättö ja Lehtisalo,
Pylon,
Cabaret Voltaire,
Sällskapet,
Bluetip,
Quando Quango,
Cameo,
Eric Copeland,
Agitation Free,
This Heat,
Mr. Review,
The Modern Lovers,
Interpol,
Lyres,
DeepChord presents Echospace,
Shoche,
Ituana,
Glambeats Corp.,
Negative Approach,
Monks,
China Crisis,
Harry Pussy,
Fear,
Ponytail,
Kevin Saunderson,
Sugar Minott,
Jawbox,
K-Klass,
Neil Young & Crazy Horse,
The Vogues,
Au Pairs,
Hot Snakes,
Mary Jane Girls,
The Standells,
Sixth Finger,
Babytalk,
The Grass Roots,
Fat Boys,
Grauzone,
Cheater Slicks,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.