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 Estonia and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school New York 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 The Jesus and Mary Chain to the dance kids.
I played it at Trash.
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 Zero Boys. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every Barrington Levy 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 '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
The Golliwogs,
Whodini,
Slick Rick,
Moebius,
Quadrant,
Pere Ubu,
Lyres,
Franke,
Marine Girls,
Lalann,
The Sisters of Mercy,
Sun City Girls,
Anthony Braxton,
Siouxsie and the Banshees,
Howard Jones,
Yellowson,
The Neon Judgement,
Minnie Riperton,
Negative Approach,
LL Cool J,
The Doors,
Babytalk,
Joyce Sims,
The Seeds,
The Zeros,
Shoche,
Interpol,
Technova,
Sonny Sharrock,
Ornette Coleman,
One Last Wish,
Radiopuhelimet,
Pole,
Ituana,
Lungfish,
The Five Americans,
Dead Boys,
Rahsaan Roland Kirk,
Crispy Ambulance,
Louis and Bebe Barron,
Erasure,
Flash Fearless,
Ronan,
Crash Course in Science,
David McCallum,
Monolake,
Simply Red,
Derrick May,
Spandau Ballet,
Piero Umiliani,
Kool G Rap & DJ Polo,
Robert Wyatt,
James White and The Blacks,
Marcia Griffiths,
Graham Central Station,
Frankie Knuckles,
Trumans Water,
The Chocolate Watch Band,
Beasts of Bourbon,
DJ Sneak,
Crime, Crime, Crime, Crime.
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.