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 Morocco and from Copenhagen.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Soft Boys practice in a loft in Cambridge.
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 Mad Mike to the jazz kids.
I played it at CBGB's.
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 Soft Machine. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic record.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Traffic Nightmare,
John Holt,
Infiniti,
Rotary Connection,
48th St. Collective,
Make Up,
Cluster,
Eyeless In Gaza,
Siglo XX,
Eric Copeland,
Andrew Hill,
Royal Trux,
Avey Tare,
The Peanut Butter Conspiracy,
Bobby Hutcherson,
The Standells,
Cecil Taylor,
Ornette Coleman,
Skaos,
Japan,
Colin Newman,
David Axelrod,
Graham Central Station,
John Cale,
Jacques Brel,
Ronnie Foster,
Gregory Isaacs,
Liliput,
Visage,
Tears for Fears,
Radio Birdman,
Mr. Review,
The Young Rascals,
The Fuzztones,
Newcleus,
R.M.O.,
The Misunderstood,
Tim Buckley,
Jandek,
Rowland S Howard / Lydia Lunch,
the Fania All-Stars,
Nils Olav,
Super Lover Cee & Casanova Rud,
The Barracudas,
Donny Hathaway,
Skriet,
Kerrie Biddell,
Quadrant,
Joey Negro,
Ultravox,
the Germs,
Lower 48,
Urselle,
The Slits,
The Fire Engines,
The Cosmic Jokers,
Black Bananas,
The Invisible,
Amon Düül,
Deakin,
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.