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 Angola and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Tokyo.
I'm losing my edge to the art-school Tokyo 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 Beasts of Bourbon to the disco kids.
I played it at the Roxy.
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 Girls At Our Best!. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Parry Music 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
the Association,
Urselle,
Magazine,
Aswad,
Skarface,
Eden Ahbez,
Index,
Sällskapet,
Amon Düül II,
Sound Behaviour,
Sandy B,
Lower 48,
Excepter,
Rekid,
Flash Fearless,
Moebius,
Sun Ra,
Chris Corsano,
Barry Ungar,
The Tremeloes,
Man Parrish,
X-102,
Grauzone,
The Shadows of Knight,
Deutsch Amerikanische Freundschaft,
Shuggie Otis,
Easy Going,
The Fuzztones,
H. Thieme,
Khruangbin,
Ajijia Myrayebe,
Electric Light Orchestra,
Ken Boothe,
Pagans,
Arab on Radar,
Youth Brigade,
Crispian St. Peters,
the Bar-Kays,
Mandrill,
Crime,
Rosa Yemen,
Bobby Byrd,
Be Bop Deluxe,
Agent Orange,
The Blackbyrds,
Rites of Spring,
Trumans Water,
Severed Heads,
Mantronix,
CMW,
Schoolly D,
Minny Pops,
June of 44,
Deepchord,
Orchestral Manoeuvres in the Dark,
Scratch Acid,
Susan Cadogan,
Larry & the Blue Notes,
Electric Prunes,
Saccharine Trust,
Au Pairs,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.