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 Ivory Coast and from Spokane.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Bologna and Calgary.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the spring reverb 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 Archie Shepp to the dance 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 Boredoms. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every The Stooges record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Alton Ellis,
Bush Tetras,
A Certain Ratio,
These Immortal Souls,
Cameo,
Mr. Review,
Morten Harket,
Urselle,
The Techniques,
the Soft Cell,
Lou Reed & John Cale,
Mission of Burma,
X-Ray Spex,
Yaz,
Heaven 17,
The Index,
Aswad,
Lonnie Liston Smith,
Lou Reed,
Reagan Youth,
Fatback Band,
Lebanon Hanover,
The Evens,
Quando Quango,
Eden Ahbez,
Sight & Sound,
Patti Smith,
Matthew Halsall,
Public Enemy,
T. Rex,
Erasure,
The Peanut Butter Conspiracy,
Basic Channel,
Ronan,
The Human League,
Bang On A Can,
Fifty Foot Hose,
The Dirtbombs,
Kaleidoscope,
Fat Boys,
Notorious Big And Bone Thugs,
The Smiths,
Juan Atkins,
Judy Mowatt,
Cal Tjader,
10cc,
E-Dancer,
Excepter,
Eddi Front,
Fela Kuti,
The Cramps,
Audionom,
Dual Sessions,
The Real Kids,
Funkadelic,
Iggy Pop,
This Heat,
Franke,
Rotary Connection,
The Five Americans,
Minnie Riperton,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.