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 Uganda 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 1967 to 1974.
I'm losing my edge.
To all the kids in Cairo and Stockholm.
I'm losing my edge to the art-school Lyon 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Sugar Minott to the rap kids.
I played it at the Crocodile.
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 Colin Newman. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every Flamin' Groovies record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Arcadia,
Chris Corsano,
Marvin Gaye,
Joy Division,
The Fuzztones,
It's A Beautiful Day,
Arab on Radar,
Richard Hell and the Voidoids,
Eyeless In Gaza,
Electric Light Orchestra,
Groovy Waters,
Lower 48,
T.S.O.L.,
Morten Harket,
Barry Ungar,
Oblivians,
Matthew Bourne,
Underground Resistance,
Robert Görl,
The Gun Club,
Joyce Sims,
Ronnie Foster,
Sonny Sharrock,
Wasted Youth,
Lalann,
PIL,
Drexciya,
The Doors,
The Chocolate Watch Band,
Super Lover Cee & Casanova Rud,
Hashim,
Shoche,
Au Pairs,
Colin Newman,
Andrew Ashong & Theo Parrish,
Arthur Verocai,
The Fugs,
Eric Copeland,
The Divine Comedy,
Gang Starr,
The Mojo Men,
Monks,
Camberwell Now,
Red Lorry Yellow Lorry,
H. Thieme,
Black Pus,
Lucky Dragons,
Jawbox,
Larry & the Blue Notes,
Wolf Eyes,
Mr. Review,
Magma,
Oneida,
Aural Exciters,
Saccharine Trust,
Lightning Bolt,
The Moody Blues,
Strawberry Alarm Clock,
The Modern Lovers,
The Evens,
Amon Düül,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.