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 Canada and from Paris.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Mumbai 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 Buzzcocks practice in a loft in Bolton.
I was working on the linndrum 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 Drexciya to the techno 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 Patti Smith. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every Reuben Wilson 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Vaughan Mason & Crew,
Pharoah Sanders,
Swell Maps,
Eyeless In Gaza,
Sun Ra Arkestra,
Donald Byrd,
The Gun Club,
The Searchers,
Electric Prunes,
Neil Young,
Aaron Thompson,
Rakim,
Bang on a Can All-Stars,
Lungfish,
Little Man,
Inner City,
Adolescents,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eric B and Rakim,
London Community Gospel Choir,
Boz Scaggs,
Joyce Sims,
The Music Machine,
Arab on Radar,
Wasted Youth,
The Divine Comedy,
Camberwell Now,
Animal Collective,
Gong,
The Wake,
The Smoke,
The Trojans,
Anakelly,
Strawberry Alarm Clock,
Terrestrial Tones,
Gang Green,
Sex Pistols,
Grey Daturas,
Quando Quango,
Visionaries,LMNO, T- Love & Iriscience,
Susan Cadogan,
the Normal,
Aloha Tigers,
Bill Near,
The Moody Blues,
Slave,
Avey Tare's Slasher Flicks,
Roy Ayers,
Altered Images,
Letta Mbulu,
The Grass Roots,
The Leaves,
The Shadows of Knight,
Marc Almond,
Royal Trux,
Andrew Hill,
Rekid,
Theoretical Girls,
Y Pants,
Sugar Minott,
Sunsets and Hearts,
Bang On A Can,
Todd Rundgren,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.