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 Malawi and from Houston.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
I'm losing my edge to the art-school Bologna 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 marimba 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 The Remains to the jazz 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 Thompson Twins. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Aural Exciters 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Roy Ayers Ubiquity,
Masters at Work,
Khruangbin,
Bill Wells,
Pantytec,
Main Source,
Surgeon,
Tears for Fears,
Avey Tare's Slasher Flicks,
Janne Schatter,
Stetsasonic,
Deadbeat,
Los Fastidios,
The Busters,
Marcia Griffiths,
The Neon Judgement,
Davy DMX,
Girls At Our Best!,
the Normal,
John Cale,
The Detroit Cobras,
London Community Gospel Choir,
Jawbox,
Fad Gadget,
Spoonie Gee,
Sexual Harrassment,
Isaac Hayes,
The Fire Engines,
David Bowie,
James Chance & The Contortions,
Simply Red,
FM Einheit,
The Standells,
Kool Moe Dee,
R.M.O.,
Funkadelic,
DJ Style,
Eric Copeland,
Big Daddy Kane,
Avey Tare & Kría Brekkan,
Black Pus,
Curtis Mayfield,
Joe Finger,
Fifty Foot Hose,
Neu!,
Matthew Halsall,
Public Enemy,
Model 500,
The Moleskins,
Bobby Byrd,
Al Stewart,
Alton Ellis,
The Martian,
Mo-Dettes,
Black Sheep,
Fear,
Minutemen,
Little Man,
The Offenders,
Wire, Wire, Wire, Wire.
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.