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 Norway and from Philadelphia.
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 1977.
I'm losing my edge.
To all the kids in Taipei and Calgary.
I'm losing my edge to the art-school New York 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Magazine to the jazz kids.
I played it at the Crocodile.
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 Sonics. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Gabor Szabo,
Barclay James Harvest,
Brass Construction,
The Litter,
Johnny Clarke,
Anakelly,
The Pop Group,
A Certain Ratio,
X-Ray Spex,
Soft Machine,
Subhumans,
Cymande,
Thinking Fellers Union Local 282,
Bobbi Humphrey,
Fugazi,
World's Most,
Rhythm & Sound,
Gang of Four,
The Royal Family And The Poor,
The Move,
Urselle,
Janne Schatter,
Electric Light Orchestra,
The Cowsills,
Yazoo,
H. Thieme,
The Stooges,
Eurythmics,
Animal Collective,
Crispian St. Peters,
Fat Boys,
Jerry Gold Smith,
Wolf Eyes,
Nick Cave & The Bad Seeds,
Sandy B,
E-Dancer,
Swell Maps,
Circle Jerks,
Royal Trux,
Lou Christie,
Sex Pistols,
Tropical Tobacco,
Red Lorry Yellow Lorry,
Gichy Dan,
Anthony Braxton,
Cabaret Voltaire,
Public Image Ltd.,
The Skatalites,
Sight & Sound,
John Foxx,
The Mummies,
The Walker Brothers,
Yaz,
Young Marble Giants,
Marc Almond,
Robert Wyatt,
Negative Approach,
Camron Feat. Memphis Bleek And Beenie Seigel,
48th St. Collective,
Harpers Bizarre,
DNA,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.