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 Guatemala and from Cairo.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Portland 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 Wire practice in a loft in Watford.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Bootsy Collins to the techno kids.
I played it at Cafe Wha.
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 Kauko Röyhkä ja Narttu. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Shuggie Otis,
Angry Samoans,
John Lydon,
X-102,
Thinking Fellers Union Local 282,
Amazonics,
Absolute Body Control,
Bobby Sherman,
Prince Buster,
Faraquet,
Sight & Sound,
The Mighty Diamonds,
Jacques Brel,
Maurizio,
Donald Byrd,
Skarface,
The Techniques,
Ultra Naté,
Connie Case,
Khruangbin,
Boz Scaggs,
The Mummies,
Whodini,
Cabaret Voltaire,
Qualms,
Rapeman,
Marc Romboy vs. Booka Shade,
Lou Reed & Metallica,
ABBA,
Sarah Menescal,
Jacob Miller,
Barrington Levy,
Letta Mbulu,
John Cale,
Mantronix,
Ken Boothe,
Peter and Kerry,
Boogie Down Productions,
Isaac Hayes,
Gil Scott Heron,
Dorothy Ashby,
Agitation Free,
Sexual Harrassment,
Maleditus Sound,
The Misunderstood,
Ajijia Myrayebe,
Brothers Johnson,
10cc,
H. Thieme,
Archie Shepp,
Pylon,
The Royal Family And The Poor,
Soul II Soul,
Anakelly,
The Victims,
Stockholm Monsters,
The Invisible,
Dr. Dre and Snoop Doggy Dog,
The Monochrome Set,
The Associates,
Fort Wilson Riot,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.