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 Andorra and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1975.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school London 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 guitar 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 Beasts of Bourbon to the disco 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 Jesper Dahlback. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Sun Ra 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 '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
The Fall,
Gang Green,
Judy Mowatt,
Henry Cow,
Fort Wilson Riot,
The Star Department,
Traffic Nightmare,
Matthew Halsall,
Hashim,
Rhythm & Sound,
Vaughan Mason & Crew,
Hardrive,
Robert Görl,
The Neon Judgement,
Desert Stars,
Danielle Patucci,
David Bowie,
Sunsets and Hearts,
Roxette,
Barclay James Harvest,
Amazonics,
Theoretical Girls,
Main Source,
Malaria!,
Derrick Morgan,
Althea and Donna,
The Offenders,
Inner City,
Lalann,
Kayak,
Max Romeo,
T.S.O.L.,
Kerri Chandler,
Amon Düül,
Oppenheimer Analysis,
The Chocolate Watch Band,
Faraquet,
La Düsseldorf,
Tears for Fears,
Notorious Big And Bone Thugs,
Gabor Szabo,
Motorama,
The Modern Lovers,
Average White Band,
Ohio Players,
The Gladiators,
The American Breed,
Dark Day,
Terry Callier,
Gary Puckett & The Union Gap,
Juan Atkins,
Derrick May,
Lou Christie,
The Blues Magoos,
Adolescents,
Sun Ra Arkestra,
Sonic Youth,
The Dirtbombs,
the Fania All-Stars,
Von Mondo,
Red Lorry Yellow Lorry,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.