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 Korea North and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Portland 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 chamberlin 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 Livin' Joy to the crunk 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 Black Dice. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
The Dave Clark Five,
Sam Rivers,
Ossler,
Unrelated Segments,
The Jesus and Mary Chain,
the Slits,
Technova,
Ultimate Spinach,
Bill Wells,
Gary Puckett & The Union Gap,
Marine Girls,
The Gories,
Hot Snakes,
Newcleus,
the Human League,
Oblivians,
Audionom,
The Pretty Things,
Erykah Badu,
Eurythmics,
Symarip,
The Fuzztones,
Deadbeat,
Sällskapet,
Soft Machine,
Arthur Verocai,
The Music Machine,
The Cure,
Beasts of Bourbon,
Mo-Dettes,
Surgeon,
D'Angelo,
Public Image Ltd.,
Outsiders,
The Last Poets,
Pete Rock & C.L. Smooth,
Stetsasonic,
New York Dolls,
Ohio Players,
Soft Cell,
L. Decosne,
Pantaleimon,
The Knickerbockers,
Freddie Wadling,
Pussy Galore,
Smog,
Guru Guru,
Procol Harum,
Vladislav Delay,
Minor Threat,
Traffic Nightmare,
The Toasters,
the Sonics,
The Cosmic Jokers,
The American Breed,
Black Moon,
Super Lover Cee & Casanova Rud,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.