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 Solomon Islands and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school Woodstock 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 mellotron 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 B.T. Express to the grime kids.
I played it at the Hacienda.
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 The Peanut Butter Conspiracy. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Yusef Lateef,
Roy Ayers,
Chris Corsano,
The Toasters,
Flamin' Groovies,
Camberwell Now,
Mary Jane Girls,
Vaughan Mason & Crew,
Mark Hollis,
Roxy Music,
John Coltrane,
Gong,
ABC,
Derrick Morgan,
The Residents,
Letta Mbulu,
The Happenings,
The Alarm Clocks,
Howard Jones,
Oppenheimer Analysis,
Siouxsie and the Banshees,
Amon Düül II,
June Days,
Unwound,
H. Thieme,
Rhythim Is Rhythim,
June of 44,
Whodini,
Yazoo,
Qualms,
Chrome,
Kool G Rap & DJ Polo,
Red Lorry Yellow Lorry,
Bobby Sherman,
Cluster,
Harry Pussy,
Smog,
Liaisons Dangereuses,
Andrew Hill,
Country Teasers,
Little Man,
Rod Modell,
Intrusion,
The Five Americans,
Underground Resistance,
Easy Going,
Gregory Isaacs,
Gang Green,
The Cramps,
Roxette,
Isaac Hayes,
The American Breed,
Freddie Wadling,
Ice-T,
Dorothy Ashby,
Pulsallama,
The Stooges,
The Men They Couldn't Hang,
Juan Atkins,
Banda Bassotti,
The Doobie Brothers,
Excepter, Excepter, Excepter, Excepter.
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.