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 Haiti and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
I'm losing my edge to the art-school Lyon 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 808 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 Marc Almond to the electroclash 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 Barbara Tucker. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Pantaleimon,
Minor Threat,
the Swans,
Y Pants,
David McCallum,
One Last Wish,
Ultravox,
Oppenheimer Analysis,
Pharoah Sanders,
Flipper,
Royal Trux,
Rufus Thomas,
The Golliwogs,
Ituana,
Sun Ra Arkestra,
Lou Reed & Metallica,
The Real Kids,
The Mojo Men,
Lucky Dragons,
Colin Newman,
Urselle,
Mandrill,
Pere Ubu,
Harmonia,
The Blues Magoos,
Barbara Tucker,
David Bowie,
Gang Green,
The Birthday Party,
Teenage Jesus and the Jerks,
Amazonics,
Notorious Big And Bone Thugs,
Rapeman,
Black Flag,
Hot Snakes,
Orchestral Manoeuvres in the Dark,
Inner City,
Half Japanese,
Dennis Brown,
Ronan,
Ultra Naté,
Bronski Beat,
The Evens,
Jimmy McGriff,
The American Breed,
Ultimate Spinach,
Be Bop Deluxe,
Donald Byrd,
Schoolly D,
The West Coast Pop Art Experimental Band,
Gil Scott Heron,
the Germs,
Vladislav Delay,
Dorothy Ashby,
DJ Style,
Aswad,
Sandy B,
Camberwell Now,
Sonic Youth,
Nation of Ulysses,
Eden Ahbez,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.