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 Cuba and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and New York.
I'm losing my edge to the art-school Glasgow 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 It's A Beautiful Day to the electroclash 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 the Fania All-Stars. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Schoolly D,
The Mummies,
Todd Rundgren,
Neu!,
Crash Course in Science,
Anthony Braxton,
Lungfish,
Teenage Jesus and the Jerks,
Model 500,
Eyeless In Gaza,
James White and The Blacks,
Ralphi Rosario,
Kauko Röyhkä ja Narttu,
Magazine,
Vaughan Mason & Crew,
Neil Young,
Tomorrow,
The Seeds,
Jesper Dahlbäck,
Parry Music,
Heavy D & The Boyz,
Rites of Spring,
Vainqueur,
Gil Scott-Heron & Brian Jackson,
Franke,
Warsaw,
Larry & the Blue Notes,
Lonnie Liston Smith,
Art Ensemble Of Chicago,
Albert Ayler,
Ohio Players,
The Dirtbombs,
The Happenings,
Stiv Bators,
the Slits,
Rahsaan Roland Kirk,
Bronski Beat,
Malaria!,
Moebius,
Masters at Work,
Bill Near,
Niagra,
Slick Rick,
The Slits,
Sam Rivers,
The Vogues,
The Sonics,
Index,
Barrington Levy,
Rufus Thomas,
a-ha,
Bill Wells,
Thinking Fellers Union Local 282,
Minny Pops,
Fort Wilson Riot,
Piero Umiliani,
The Victims,
Japan,
Interpol,
Notorious BIG live in Amsterdam,
Morten Harket,
The Associates,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.