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 Brazil and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1964 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
I'm losing my edge to the art-school New York 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Simply Red 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 Kerrie Biddell. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
PIL,
Toni Rubio,
Gang Green,
Gang of Four,
Erasure,
The Count Five,
DeepChord presents Echospace,
Motorama,
David Axelrod,
The Jesus and Mary Chain,
Althea and Donna,
The Modern Lovers,
Audionom,
Scratch Acid,
Matthew Halsall,
Spoonie Gee,
Mark Hollis,
Aural Exciters,
Super Lover Cee & Casanova Rud,
Jawbox,
Livin' Joy,
Ohio Players,
Essential Logic,
New York Dolls,
Be Bop Deluxe,
Röyhkä ja Rättö ja Lehtisalo,
Fatback Band,
Mo-Dettes,
Moebius,
Quadrant,
Rufus Thomas,
Tom Boy,
the Fania All-Stars,
The Slits,
Notorious Big And Bone Thugs,
The Doors,
Rekid,
Black Pus,
Blossom Toes,
Wolf Eyes,
Cabaret Voltaire,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lonnie Liston Smith,
Sun City Girls,
Kango’s Stein Massive,
Thompson Twins,
Louis and Bebe Barron,
Blancmange,
Ultramagnetic MC's,
Sonic Youth,
Major Organ And The Adding Machine,
Sugar Minott,
Glenn Branca,
Swans,
The Residents,
the Germs,
Deakin,
The Invisible,
Von Mondo,
Crime,
Eyeless In Gaza,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.