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 St Lucia and from Woodstock.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Accra and Winnipeg.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Howard Jones to the punk 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 Ajijia Myrayebe. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe 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 sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Rowland S Howard / Lydia Lunch,
Rites of Spring,
a-ha,
Buzzcocks,
La Düsseldorf,
James Chance & The Contortions,
Suicide,
Deakin,
Ten City,
Kevin Saunderson,
Ohio Players,
Moss Icon,
Throbbing Gristle,
Lyres,
Glambeats Corp.,
Derrick Morgan,
Oneida,
Hardrive,
Shuggie Otis,
Justin Hinds & The Dominoes,
Cameo,
Oblivians,
Soft Machine,
Faraquet,
John Coltrane,
Fela Kuti,
The Star Department,
Livin' Joy,
The Wake,
New Order,
Scrapy,
Q and Not U,
Warren Ellis,
Rhythim Is Rhythim,
Funky Four + One,
Country Joe & The Fish,
DJ Style,
Godley & Creme,
The Doors,
Eric B and Rakim,
Crispy Ambulance,
Chrome,
Jeru the Damaja,
Fatback Band,
F. McDonald,
The Mojo Men,
Outsiders,
Half Japanese,
Nils Olav,
The Sound,
Be Bop Deluxe,
Guru Guru,
T. Rex,
Stiv Bators,
Section 25,
The Moody Blues,
the Association,
Idris Muhammad,
Lonnie Liston Smith,
Blossom Toes,
Siglo XX,
Whodini, Whodini, Whodini, Whodini.
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.