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 Kosovo and from Salvador.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Winnipeg.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Terrestrial Tones to the rap 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 Sparks. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
Tommy Roe,
Big Daddy Kane,
Radiohead,
Pulsallama,
the Sonics,
The Real Kids,
Nick Fraelich,
Simply Red,
Procol Harum,
Lou Christie,
The Pretty Things,
Qualms,
Gong,
Country Joe & The Fish,
Be Bop Deluxe,
The Names,
Larry & the Blue Notes,
The Move,
Smog,
David McCallum,
This Heat,
The Standells,
The Men They Couldn't Hang,
T.S.O.L.,
Brothers Johnson,
H. Thieme,
Barry Ungar,
Anthony Braxton,
Grauzone,
Pole,
AZ,
Gang Green,
Eli Mardock,
The Dirtbombs,
Dave Gahan,
Sunsets and Hearts,
Jeru the Damaja,
Fluxion,
Accadde A,
Inner City,
Easy Going,
The Fall,
Ludus,
Saccharine Trust,
Babytalk,
Danielle Patucci,
Jerry's Kids,
Fear,
ABBA,
Desert Stars,
The Doobie Brothers,
Thee Headcoats,
Avey Tare,
Crash Course in Science,
Agent Orange,
These Immortal Souls,
Joensuu 1685,
Marvin Gaye,
Public Enemy,
Flipper,
Stiv Bators,
Kool G Rap & DJ Polo,
The American Breed,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.