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 Liberia and from Halifax.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school Beijing 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 This Heat to the grunge kids.
I played it at the Roxy.
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 The New Christs. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal funk 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 theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Essential Logic,
Susan Cadogan,
Unrelated Segments,
Chris Corsano,
Rapeman,
Goldenarms,
Can,
The Blues Magoos,
Dead Boys,
Yaz,
Mr. Review,
Beasts of Bourbon,
The Toasters,
Sandy B,
Ten City,
Cabaret Voltaire,
Pet Shop Boys,
Bobby Sherman,
Roy Ayers,
Bluetip,
Nick Fraelich,
Rufus Thomas,
Rites of Spring,
Gary Puckett & The Union Gap,
Faust,
Lyres,
DJ Style,
Lalann,
The Last Poets,
The Names,
Television,
Lebanon Hanover,
ABC,
Bad Manners,
The Flesh Eaters,
Joe Smooth,
Bobby Byrd,
Boredoms,
Rotary Connection,
The Vogues,
L. Decosne,
Carl Craig,
The Doobie Brothers,
Barrington Levy,
Junior Murvin,
Pere Ubu,
Juan Atkins,
Cal Tjader,
Drive Like Jehu,
Wings,
Idris Muhammad,
DNA,
Brothers Johnson,
The Peanut Butter Conspiracy,
Jeru the Damaja,
Lou Reed,
Quando Quango,
Notorious Big And Bone Thugs,
Orchestral Manoeuvres in the Dark,
Zapp,
Steve Hackett,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.