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 Maldives and from Toronto.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Paris and Tokyo.
I'm losing my edge to the art-school Woodstock 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 Josef K practice in a loft in Edinburgh.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Dark Day to the grunge 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 The Pretty Things. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Dave Clark Five,
The Happenings,
Little Man,
Stereo Dub,
Eli Mardock,
The Grass Roots,
Peter Gordon & Love of Life Orchestra,
Pharoah Sanders,
Roy Ayers Ubiquity,
Gang Gang Dance,
Gian Franco Pienzio,
Quantec,
Severed Heads,
The Monochrome Set,
The Cramps,
James White and The Blacks,
Lee Hazlewood,
Mr. Review,
Sight & Sound,
Kool G Rap & DJ Polo,
Prince Buster,
Ken Boothe,
48th St. Collective,
Judy Mowatt,
The Dirtbombs,
The Divine Comedy,
Teenage Jesus and the Jerks,
Idris Muhammad,
Dawn Penn,
The Wake,
The Names,
Shoche,
Barrington Levy,
The Angels of Light,
Andrew Hill,
Cluster,
The American Breed,
Country Teasers,
The Associates,
Crooked Eye,
Quadrant,
The Standells,
The Sisters of Mercy,
Tears for Fears,
Junior Murvin,
Massinfluence,
Grandmaster Flash,
Gastr Del Sol,
Liaisons Dangereuses,
Eric Dolphy,
the Swans,
Rosa Yemen,
Loose Ends,
Section 25,
Franke,
Bobbi Humphrey,
Hot Snakes,
A Flock of Seagulls,
Henry Cow,
Jacob Miller,
Easy Going, Easy Going, Easy Going, Easy Going.
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.