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 Norway and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Shanghai 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 theremin 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 Ultra Naté to the dance kids.
I played it at the Spitz.
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 Lou Reed & John Cale. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every New Order record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Pussy Galore,
Gang of Four,
Camouflage,
Scratch Acid,
T. Rex,
Girls At Our Best!,
Quadrant,
Kayak,
R.M.O.,
Al Stewart,
Mantronix,
Big Daddy Kane,
Pantaleimon,
Avey Tare,
Pierre Henry,
Jimmy McGriff,
The Martian,
The Flesh Eaters,
Lizzy Mercier Descloux,
Marine Girls,
Rod Modell,
Tommy Roe,
The Invisible,
Bang on a Can All-Stars,
The Human League,
Jacob Miller,
Bobby Womack,
ABBA,
The Monochrome Set,
Von Mondo,
Black Flag,
Alphaville,
Gian Franco Pienzio,
The Young Rascals,
The Zeros,
Albert Ayler,
Peter and Kerry,
B.T. Express,
Alison Limerick,
K-Klass,
Faraquet,
Au Pairs,
Roxy Music,
Marvin Gaye,
Dorothy Ashby,
Buzzcocks,
Stockholm Monsters,
Oblivians,
Magma,
Althea and Donna,
Fela Kuti,
Derrick May,
Second Layer,
Yusef Lateef,
Graham Central Station,
Bob Dylan,
Sunsets and Hearts,
Boredoms,
Connie Case,
Max Romeo,
The Saints,
Minny Pops,
Little Man, Little Man, Little Man, Little Man.
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.