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 Uruguay and from Sao Paulo.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Houston and Philadelphia.
I'm losing my edge to the art-school Manchester 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 linndrum 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 Guru Guru to the dance kids.
I played it at the Troubador.
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 Sticky Fingaz feat. Raekwon. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
John Coltrane,
the Soft Cell,
Clear Light,
Nation of Ulysses,
The Count Five,
The Offenders,
Severed Heads,
Khruangbin,
Prince Buster,
David Axelrod,
MDC,
Jesper Dahlback,
Siglo XX,
Amon Düül II,
Model 500,
Wings,
The Happenings,
Davy DMX,
Flamin' Groovies,
Warren Ellis,
Blancmange,
Eli Mardock,
Godley & Creme,
Sun City Girls,
Roxy Music,
The Electric Prunes,
Gastr Del Sol,
Teenage Jesus and the Jerks,
Monks,
The Mighty Diamonds,
The Chocolate Watch Band,
Al Stewart,
Crash Course in Science,
Bootsy Collins,
Glambeats Corp.,
Jawbox,
London Community Gospel Choir,
Adolescents,
Sun Ra,
Sonny Sharrock,
Kaleidoscope,
Hasil Adkins,
Terrestrial Tones,
The Golliwogs,
Excepter,
48th St. Collective,
Barrington Levy,
Be Bop Deluxe,
The Evens,
Lee Hazlewood,
Camberwell Now,
The Alarm Clocks,
The Men They Couldn't Hang,
Ultra Naté,
Matthew Halsall,
Crispian St. Peters,
Negative Approach,
Suicide,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.