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 Indonesia and from Edmonton.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 Ronan to the jazz 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 The Black Dice. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
The Electric Prunes,
Skaos,
Rotary Connection,
The Saints,
The Royal Family And The Poor,
Godley & Creme,
Alison Limerick,
Gary Puckett & The Union Gap,
Peter and Kerry,
Ralphi Rosario,
Ajijia Myrayebe,
Lee Hazlewood,
Sly & The Family Stone,
Man Parrish,
The Sonics,
Dave Gahan,
Todd Rundgren,
Slick Rick,
The Doobie Brothers,
Connie Case,
Robert Hood,
John Holt,
Joensuu 1685,
Pete Rock & C.L. Smooth,
The Real Kids,
Silicon Teens,
Cheater Slicks,
Sight & Sound,
Hardrive,
Joey Negro,
Lebanon Hanover,
Quando Quango,
Roy Ayers,
Eden Ahbez,
X-102,
Neu!,
The Standells,
Lungfish,
Malaria!,
Patti Smith,
Magma,
Byron Stingily,
Rufus Thomas,
Soul II Soul,
Popol Vuh,
Robert Görl,
The Smiths,
Donny Hathaway,
The Black Dice,
Scott Walker,
The Buckinghams,
Minnie Riperton,
Lucky Dragons,
Isaac Hayes,
The Cure,
Marmalade,
8 Eyed Spy,
Todd Terry,
Severed Heads,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.