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 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 1978.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Salvador 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Byron Stingily 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 Urselle. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Fifty Foot Hose record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Lee Hazlewood,
Blake Baxter,
Suicide,
Roxette,
Magazine,
Mantronix,
Rod Modell,
The Invisible,
Royal Trux,
Franke,
Jeff Lynne,
Loose Ends,
Soft Cell,
Supertramp,
Crash Course in Science,
Dual Sessions,
X-102,
T.S.O.L.,
Gang Starr,
Bootsy Collins,
Barclay James Harvest,
The Trojans,
Bluetip,
The United States of America,
Maurizio,
Crispian St. Peters,
OOIOO,
PIL,
Dorothy Ashby,
The J.B.'s,
The Alarm Clocks,
Manfred Mann's Earth Band,
Sparks,
The Fall,
Faraquet,
Organ,
Technova,
Severed Heads,
Visionaries,LMNO, T- Love & Iriscience,
Derrick May,
the Human League,
June Days,
Dead Boys,
Visage,
FM Einheit,
Donald Byrd,
Nick Cave & The Bad Seeds,
Q65,
Con Funk Shun,
Be Bop Deluxe,
Nico,
Alphaville,
Minor Threat,
Marc Romboy vs. Booka Shade,
The Kinks,
Piero Umiliani,
Slave,
UT,
the Normal,
Quantec,
Glenn Branca,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.