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 Congo and from Johannesburg.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Tehran.
I'm losing my edge to the art-school Mexico City 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Rhythm & Sound to the punk 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 Mr. Review. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
The Black Dice,
Rhythm & Sound,
Glambeats Corp.,
The Slackers,
Lizzy Mercier Descloux,
Spandau Ballet,
Warren Ellis,
The Victims,
Fort Wilson Riot,
Pussy Galore,
Siglo XX,
The Monks,
the Sonics,
Cabaret Voltaire,
Echo & the Bunnymen,
Newcleus,
10cc,
The Monochrome Set,
Rowland S Howard / Lydia Lunch,
Ultramagnetic MC's,
Throbbing Gristle,
Outsiders,
Mr. Review,
Von Mondo,
Porter Ricks,
The Jesus and Mary Chain,
Brick,
Bluetip,
The Sonics,
Kool G Rap & DJ Polo,
Clear Light,
Cameo,
Tropical Tobacco,
Deakin,
Gary Puckett & The Union Gap,
Röyhkä ja Rättö ja Lehtisalo,
Agent Orange,
Kurtis Blow,
Hasil Adkins,
Hardrive,
Pole,
Easy Going,
Don Cherry,
Symarip,
Circle Jerks,
Rod Modell,
Wings,
Yaz,
Radio Birdman,
John Lydon,
The Raincoats,
Radiohead,
Cluster,
Supertramp,
Japan,
Rotary Connection,
Bobby Sherman,
Dawn Penn,
Black Flag,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.