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 United Kingdom 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 1963 to 1975.
I'm losing my edge.
To all the kids in London and London.
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 marimba sounds with much patience.
I was there when Michael McDonald 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 New York Dolls to the punk kids.
I played it at the Hacienda.
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 Tropical Tobacco. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Spoonie Gee 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Curtis Mayfield,
Ten City,
Magma,
Kool G Rap & DJ Polo,
Neu!,
The American Breed,
The New Christs,
Thompson Twins,
Howard Jones,
Pete Rock & C.L. Smooth,
Lou Christie,
The Move,
Index,
Manfred Mann's Earth Band,
Duran Duran,
Super Lover Cee & Casanova Rud,
Moby Grape,
8 Eyed Spy,
The Fortunes,
Pussy Galore,
Matthew Halsall,
Circle Jerks,
Monks,
Prince Buster,
Piero Umiliani,
cv313,
Little Man,
The Gun Club,
Avey Tare's Slasher Flicks,
Q65,
Lower 48,
Negative Approach,
Pagans,
Graham Central Station,
Susan Cadogan,
DJ Style,
The Human League,
the Slits,
The Five Americans,
Slave,
Boz Scaggs,
David Bowie,
Stiv Bators,
Carl Craig,
Jeru the Damaja,
John Coltrane,
Ituana,
Peter Gordon & Love of Life Orchestra,
a-ha,
Ludus,
The Beau Brummels,
Bang on a Can All-Stars,
Eden Ahbez,
The Offenders,
10cc,
Rosa Yemen,
Glambeats Corp.,
Nation of Ulysses,
Public Image Ltd.,
the Bar-Kays,
In Retrospect,
Notorious Big And Bone Thugs,
Excepter, Excepter, Excepter, Excepter.
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.