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 Papua New Guinea and from Copenhagen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Accra and Copenhagen.
I'm losing my edge to the art-school Portland 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 Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Alison Limerick to the grunge 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 The Real Kids. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal electroclash 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 arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Faraquet,
The Victims,
Bobby Womack,
Sound Behaviour,
Pierre Henry,
Bobby Hutcherson,
Wally Richardson,
Steve Hackett,
London Community Gospel Choir,
The Skatalites,
Audionom,
Ash Ra Tempel,
Marine Girls,
Drexciya,
Harmonia,
June Days,
Skaos,
Stereo Dub,
Bad Manners,
Joey Negro,
The Sonics,
Minny Pops,
Drive Like Jehu,
The Barracudas,
Liaisons Dangereuses,
U.S. Maple,
Roger Hodgson,
Robert Görl,
Ken Boothe,
Joensuu 1685,
Albert Ayler,
Blossom Toes,
Visionaries,LMNO, T- Love & Iriscience,
Al Stewart,
The Techniques,
Orchestral Manoeuvres in the Dark,
Hasil Adkins,
Fluxion,
John Coltrane,
Boz Scaggs,
Eric Dolphy,
Von Mondo,
Inner City,
Magazine,
The Mojo Men,
In Retrospect,
Darondo,
Derrick Morgan,
T.S.O.L.,
the Bar-Kays,
Gang Gang Dance,
Cameo,
the Normal,
The Modern Lovers,
EPMD,
The Blues Magoos,
Accadde A,
The Seeds,
Procol Harum,
Sandy B,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.