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 Mexico and from Milan.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Jakarta.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Roy Ayers Ubiquity to the crunk kids.
I played it at Cafe Wha.
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 Sarah Menescal. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Nas 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Glambeats Corp.,
Larry & the Blue Notes,
The Neon Judgement,
The Skatalites,
Leonard Cohen,
June Days,
X-Ray Spex,
Darondo,
Lebanon Hanover,
Siglo XX,
Dorothy Ashby,
Eyeless In Gaza,
Crispian St. Peters,
The Smoke,
The Martian,
Janne Schatter,
Eli Mardock,
Echo & the Bunnymen,
New York Dolls,
Thompson Twins,
Be Bop Deluxe,
Angry Samoans,
Dead Boys,
Yaz,
UT,
Nils Olav,
The Fortunes,
Erasure,
Aloha Tigers,
Royal Trux,
Eddi Front,
The Golliwogs,
Brand Nubian,
Flamin' Groovies,
Tears for Fears,
Bobby Sherman,
Masters at Work,
Deutsch Amerikanische Freundschaft,
Angels of Light & Akron/Family,
the Germs,
Idris Muhammad,
Robert Hood,
Lou Reed,
Sound Behaviour,
Khruangbin,
Matthew Halsall,
Red Lorry Yellow Lorry,
Pantytec,
Sonic Youth,
Brothers Johnson,
Neil Young & Crazy Horse,
Iggy Pop,
Sister Nancy,
Heaven 17,
Blossom Toes,
Minny Pops,
Fad Gadget,
Big Daddy Kane,
Absolute Body Control,
Thinking Fellers Union Local 282,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.