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 Lebanon and from Madrid.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Philadelphia 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord 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 the Slits to the punk kids.
I played it at the Astoria.
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 Traffic Nightmare. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Ken Boothe,
Andrew Hill,
The Modern Lovers,
Marmalade,
Zapp,
Marine Girls,
New York Dolls,
Bizarre Inc.,
Black Sheep,
The Victims,
Soul Sonic Force,
K-Klass,
Justin Hinds & The Dominoes,
Nirvana,
Eddi Front,
Kool G Rap & DJ Polo,
Magma,
Section 25,
The Moleskins,
Derrick May,
Iggy Pop,
Moss Icon,
the Sonics,
Selector Dub Narcotic,
Mandrill,
Alison Limerick,
Mantronix,
Model 500,
Flamin' Groovies,
PIL,
Soft Machine,
Robert Görl,
The Walker Brothers,
The Monks,
The Chocolate Watch Band,
Y Pants,
Wally Richardson,
The Index,
The Five Americans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aural Exciters,
Television Personalities,
Lonnie Liston Smith,
The Alarm Clocks,
Soul II Soul,
Terror Squad Feat. Camron,
AZ,
Scan 7,
Schoolly D,
The Doors,
Intrusion,
Cymande,
The Black Dice,
The Associates,
Harry Pussy,
The Fuzztones,
cv313,
Bobby Hutcherson,
The Count Five,
Jerry's Kids,
New Age Steppers,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.