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 Dominican Republic and from Taipei.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Salvador.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Derrick May to the dance kids.
I played it at the Troubador.
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 Robert Wyatt. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
B.T. Express,
a-ha,
Minor Threat,
The New Christs,
H. Thieme,
Sam Rivers,
Con Funk Shun,
Public Image Ltd.,
the Germs,
Man Eating Sloth,
A Certain Ratio,
Model 500,
Eyeless In Gaza,
Delta 5,
Marshall Jefferson,
Bang On A Can,
Q65,
The Move,
Roxette,
Rufus Thomas,
The Red Krayola,
Bootsy's Rubber Band,
Ultravox,
Marine Girls,
Quando Quango,
Scan 7,
X-Ray Spex,
Gil Scott-Heron and Jamie xx,
One Last Wish,
John Cale,
T. Rex,
Goldenarms,
Fear,
Outsiders,
Jerry's Kids,
Maleditus Sound,
Hashim,
Mandrill,
Don Cherry,
Matthew Bourne,
The Sound,
Grauzone,
Sly & The Family Stone,
Letta Mbulu,
Ajijia Myrayebe,
Fort Wilson Riot,
Orchestral Manoeuvres in the Dark,
The Cosmic Jokers,
Technova,
Bluetip,
Wire,
Radio Birdman,
Harry Pussy,
Frankie Knuckles,
Pantytec,
Donald Byrd,
Kings Of Tomorrow,
Audionom,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.