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 Congo and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Calgary.
I'm losing my edge to the art-school Sao Paulo 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 rhodes 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 Rotary Connection to the rap 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 Vaughan Mason & Crew. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal punk 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
The Names,
New York Dolls,
Radio Birdman,
Oppenheimer Analysis,
Sällskapet,
Lyres,
Banda Bassotti,
The Jesus and Mary Chain,
The Moleskins,
Camouflage,
Unwound,
June Days,
Angry Samoans,
Yazoo,
The Saints,
the Normal,
Brick,
Althea and Donna,
Ajijia Myrayebe,
Bobby Sherman,
JFA,
48th St. Collective,
It's A Beautiful Day,
Eyeless In Gaza,
Frankie Knuckles,
Boogie Down Productions,
Schoolly D,
Yaz,
Gang Gang Dance,
Derrick Morgan,
Aswad,
The Mummies,
Letta Mbulu,
Lonnie Liston Smith,
KRS-One,
The Beau Brummels,
Fela Kuti,
Kango’s Stein Massive,
Black Bananas,
Brothers Johnson,
EPMD,
Grandmaster Flash,
Archie Shepp,
Country Teasers,
Toni Rubio,
Can,
Rekid,
The Music Machine,
Rotary Connection,
Dead Boys,
Lucky Dragons,
Radiohead,
Danielle Patucci,
Ultravox,
The Invisible,
Rakim,
Von Mondo,
World's Most,
Procol Harum,
Tears for Fears,
Sexual Harrassment,
Pole, Pole, Pole, Pole.
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.