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 Niger and from Glasgow.
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 Spokane and Toronto.
I'm losing my edge to the art-school Calgary 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet 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 Skaos to the disco 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 De La Soul & Jungle Brothers. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Fluxion 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Arcadia,
Moebius,
Magazine,
Orchestral Manoeuvres in the Dark,
The Seeds,
Accadde A,
Spandau Ballet,
Banda Bassotti,
The Victims,
The Durutti Column,
Arthur Verocai,
Unrelated Segments,
Lonnie Liston Smith,
Delta 5,
Connie Case,
Vladislav Delay,
Letta Mbulu,
Marmalade,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Hardrive,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Music Machine,
Ronan,
ABC,
Siglo XX,
Ultra Naté,
Boredoms,
Erasure,
The Doors,
AZ,
Tears for Fears,
Pantytec,
Silicon Teens,
Harpers Bizarre,
Oppenheimer Analysis,
Zero Boys,
Maleditus Sound,
Roy Ayers,
Flash Fearless,
This Heat,
Neu!,
CMW,
Bobby Womack,
Crispy Ambulance,
Kool Moe Dee,
Thompson Twins,
Sad Lovers and Giants,
Black Flag,
Thinking Fellers Union Local 282,
Prince Buster,
Echo & the Bunnymen,
Althea and Donna,
The Remains,
Ultravox,
Wolf Eyes,
the Slits,
Stiv Bators,
The Gun Club,
Dead Boys,
Outsiders, Outsiders, Outsiders, Outsiders.
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.