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 Vietnam and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Sao Paulo 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Bluetip to the grime 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 Sly & The Family Stone. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Slave 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
Alison Limerick,
Bauhaus,
Tom Boy,
The Electric Prunes,
Masters at Work,
Pete Rock & C.L. Smooth,
Gastr Del Sol,
Thompson Twins,
Soft Machine,
Echospace,
Big Daddy Kane,
Siglo XX,
Swell Maps,
Interpol,
Byron Stingily,
Magma,
Nico,
Lucky Dragons,
The Names,
Juan Atkins,
Super Lover Cee & Casanova Rud,
Steve Hackett,
Roxette,
The Black Dice,
Sad Lovers and Giants,
Unrelated Segments,
Man Eating Sloth,
Mary Jane Girls,
Slick Rick,
Fifty Foot Hose,
The Music Machine,
The Evens,
Warren Ellis,
Gang Green,
The Cosmic Jokers,
Loose Ends,
Sonic Youth,
The Mummies,
Röyhkä ja Rättö ja Lehtisalo,
Das Ding,
Siouxsie and the Banshees,
The Buckinghams,
Lindisfarne,
Sandy B,
Monks,
Tubeway Army,
cv313,
The Dave Clark Five,
10cc,
Black Flag,
Wally Richardson,
The Smoke,
Flipper,
Main Source,
Carl Craig,
Au Pairs,
Blossom Toes,
Jesper Dahlback,
Amon Düül II,
Barbara Tucker,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.