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 Korea North and from Bologna.
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 Portland and Mexico City.
I'm losing my edge to the art-school Tehran 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 Wire practice in a loft in Watford.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 UT to the funk 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 Maleditus Sound. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Leonard Cohen,
Cabaret Voltaire,
Eurythmics,
DeepChord presents Echospace,
Soft Cell,
Pagans,
Siglo XX,
Ludus,
Graham Central Station,
The Names,
Franke,
The Barracudas,
Minor Threat,
Average White Band,
The Divine Comedy,
Pole,
Robert Wyatt,
Sixth Finger,
The Evens,
Cal Tjader,
Gregory Isaacs,
Gil Scott-Heron and Jamie xx,
Avey Tare's Slasher Flicks,
Moby Grape,
Bootsy Collins,
Terry Callier,
Crime,
Goldenarms,
Alison Limerick,
Angels of Light & Akron/Family,
Barrington Levy,
Maurizio,
Masters at Work,
Rites of Spring,
Fugazi,
Massinfluence,
Section 25,
Lower 48,
Chris & Cosey,
E-Dancer,
The Raincoats,
Don Cherry,
Kool G Rap & DJ Polo,
Index,
Mars,
The Cure,
It's A Beautiful Day,
X-Ray Spex,
Matthew Bourne,
The Smoke,
Fatback Band,
Mo-Dettes,
the Human League,
Marc Romboy vs. Booka Shade,
Black Bananas,
Amon Düül,
The Electric Prunes,
Dead Boys,
T. Rex,
Lungfish,
the Association, the Association, the Association, the Association.
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.