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 Turkey and from Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television 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 1960 to 1979.
I'm losing my edge.
To all the kids in Lyon and Lagos.
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 Holger Czukay 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 Kinks to the techno kids.
I played it at the 40 Watt.
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 American Breed. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Lindisfarne 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
The Blues Magoos,
The Happenings,
Q and Not U,
The Black Dice,
Scan 7,
Section 25,
Cymande,
Man Parrish,
KRS-One,
The Detroit Cobras,
Art Ensemble Of Chicago,
Scott Walker,
Lindisfarne,
The Blackbyrds,
Eve St. Jones,
Liliput,
Ultravox,
Kenny Larkin,
Ultra Naté,
Brothers Johnson,
Fluxion,
Bauhaus,
Black Sheep,
Roy Ayers,
The Men They Couldn't Hang,
The Grass Roots,
OOIOO,
Spoonie Gee,
DeepChord presents Echospace,
Banda Bassotti,
Big Daddy Kane,
Donald Byrd,
Moss Icon,
Fugazi,
The Moody Blues,
JFA,
Bootsy Collins,
Barry Ungar,
Eli Mardock,
Glenn Branca,
Thompson Twins,
Robert Hood,
Flash Fearless,
Pulsallama,
Pantaleimon,
Bush Tetras,
Talk Talk,
Pharaoh Sanders and the Fire Engines,
X-102,
The Move,
the Swans,
It's A Beautiful Day,
Maurizio,
Roger Hodgson,
Minnie Riperton,
Gil Scott Heron,
Althea and Donna,
Andrew Hill,
Crime,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.