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 Egypt 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 1967 to 1973.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Beijing 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 at the first Suicide practice in a loft in New York.
I was working on the arpeggiator 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 The Black Dice to the techno 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 Roy Ayers Ubiquity. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Graham Central Station,
Cabaret Voltaire,
Scrapy,
Brothers Johnson,
the Germs,
Dawn Penn,
Hasil Adkins,
the Sonics,
The Chocolate Watch Band,
Tom Boy,
Matthew Bourne,
June of 44,
Michelle Simonal,
Rhythm & Sound,
Shuggie Otis,
Robert Hood,
Nick Cave & The Bad Seeds,
Robert Görl,
Lalann,
The Offenders,
Fatback Band,
Bobbi Humphrey,
The Motions,
Eyeless In Gaza,
The Searchers,
Suburban Knight,
Public Image Ltd.,
Soft Machine,
John Coltrane,
Guru Guru,
The Evens,
Joensuu 1685,
Goldenarms,
Harry Pussy,
JFA,
Bad Manners,
R.M.O.,
Electric Prunes,
Subhumans,
Dennis Brown,
U.S. Maple,
Curtis Mayfield,
a-ha,
Lower 48,
Q65,
Con Funk Shun,
Larry & the Blue Notes,
Connie Case,
The West Coast Pop Art Experimental Band,
Tomorrow,
David Axelrod,
The Blues Magoos,
L. Decosne,
The Alarm Clocks,
Pete Rock & C.L. Smooth,
Henry Cow,
Jacob Miller,
Audionom,
The Star Department,
Gregory Isaacs,
Hashim,
Althea and Donna,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.