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 Zimbabwe and from Milan.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Milan.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ 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 Ornette Coleman to the grime kids.
I played it at the Crocodile.
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 Laurel Aitken. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Lafayette Afro Rock Band record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Richard Hell and the Voidoids,
Thee Headcoats,
Albert Ayler,
Pete Rock & C.L. Smooth,
Oneida,
Bobbi Humphrey,
Radiopuhelimet,
Soft Machine,
The Chocolate Watch Band,
Archie Shepp,
Negative Approach,
Eric Copeland,
Zero Boys,
the Slits,
The Dead C,
Electric Prunes,
The Tremeloes,
Connie Case,
Roy Ayers Ubiquity,
Dead Boys,
Bobby Sherman,
Circle Jerks,
X-101,
Simply Red,
The Mojo Men,
Andrew Ashong & Theo Parrish,
Jerry Gold Smith,
Ultimate Spinach,
Black Pus,
Saccharine Trust,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Spandau Ballet,
Orchestral Manoeuvres in the Dark,
Gary Puckett & The Union Gap,
Tubeway Army,
Chrome,
Gian Franco Pienzio,
Pulsallama,
AZ,
Sex Pistols,
Sister Nancy,
Nik Kershaw,
Glenn Branca,
Make Up,
Neil Young,
Von Mondo,
Gabor Szabo,
One Last Wish,
The Seeds,
The Real Kids,
Rekid,
Slave,
Reagan Youth,
Eric B and Rakim,
E-Dancer,
UT,
Mary Jane Girls,
Rakim,
The Offenders,
Pantaleimon,
The Black Dice,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.