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 Solomon Islands and from Manchester.
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 1964 to 1970.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school Madrid 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Bush Tetras to the grime 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 Max Romeo. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Rapeman 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Hasil Adkins,
The Men They Couldn't Hang,
Bobby Byrd,
Ralphi Rosario,
Hot Snakes,
Marc Almond,
The Black Dice,
Gregory Isaacs,
The Gap Band,
Albert Ayler,
Scientists,
Pagans,
Joensuu 1685,
Can,
Camberwell Now,
ABC,
the Soft Cell,
Eric Copeland,
the Normal,
The Mummies,
Lee Hazlewood,
Roger Hodgson,
The Blackbyrds,
Silicon Teens,
E-Dancer,
The Leaves,
Bizarre Inc.,
Tomorrow,
Stetsasonic,
Pere Ubu,
Ken Boothe,
The Sound,
Morten Harket,
Marcia Griffiths,
Outsiders,
Aaron Thompson,
H. Thieme,
Ultramagnetic MC's,
Gil Scott-Heron and Jamie xx,
Newcleus,
The Peanut Butter Conspiracy,
Pylon,
Pole,
T.S.O.L.,
Lindisfarne,
the Fania All-Stars,
Charles Mingus,
Stiv Bators,
Country Teasers,
Saccharine Trust,
the Slits,
The Royal Family And The Poor,
Severed Heads,
Electric Light Orchestra,
Technova,
The Music Machine,
The Slackers,
FM Einheit,
Section 25,
Half Japanese,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.