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 Latvia and from Lagos.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Spokane and Delhi.
I'm losing my edge to the art-school Toronto 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 at the first Suicide practice in a loft in New York.
I was working on the sitar 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 Bob Dylan to the dance kids.
I played it at the 40 Watt.
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 Tubeway Army. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Chris & Cosey,
Interpol,
Chrome,
Junior Murvin,
The Buckinghams,
Orchestral Manoeuvres in the Dark,
Pete Rock & C.L. Smooth,
The Count Five,
Tomorrow,
Liliput,
The Vogues,
Rekid,
the Normal,
Ice-T,
Cal Tjader,
Niagra,
Popol Vuh,
Soft Machine,
Lindisfarne,
La Düsseldorf,
Oneida,
The Raincoats,
The Walker Brothers,
Althea and Donna,
Bronski Beat,
Wighnomy Brothers & Robag Wruhme,
Sonny Sharrock,
Major Organ And The Adding Machine,
Suburban Knight,
Panda Bear,
Boogie Down Productions,
The Martian,
Matthew Bourne,
Dennis Brown,
Todd Terry,
Andrew Ashong & Theo Parrish,
Notorious Big And Bone Thugs,
Sarah Menescal,
Archie Shepp,
Bobby Byrd,
Jawbox,
Nas,
Neil Young,
Rod Modell,
The American Breed,
Sexual Harrassment,
Strawberry Alarm Clock,
Dark Day,
The Misunderstood,
the Sonics,
Bobby Womack,
Mad Mike,
Whodini,
The Dead C,
Amon Düül II,
Yusef Lateef,
Unwound,
Terrestrial Tones,
Quando Quango,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.