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 Burundi and from New York.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Gang Starr to the dance 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 Chris Corsano. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Junior Murvin,
Brick,
Bobby Womack,
The Music Machine,
The Divine Comedy,
The Cowsills,
Silicon Teens,
Andrew Ashong & Theo Parrish,
Jacques Brel,
Oppenheimer Analysis,
Nick Cave & The Bad Seeds,
Sexual Harrassment,
Underground Resistance,
Clear Light,
Adolescents,
Y Pants,
Funkadelic,
Oneida,
Louis and Bebe Barron,
Judy Mowatt,
James White and The Blacks,
AZ,
The Mojo Men,
Peter & Gordon,
Susan Cadogan,
Eric Copeland,
Black Moon,
Sex Pistols,
Dawn Penn,
Gabor Szabo,
Be Bop Deluxe,
Bill Near,
Man Parrish,
Agent Orange,
World's Most,
Can,
Outsiders,
Archie Shepp,
The Associates,
Drexciya,
Ultra Naté,
Lyres,
the Swans,
Wings,
X-102,
Con Funk Shun,
The Zeros,
Fatback Band,
Sun City Girls,
Kango’s Stein Massive,
Franke,
Monolake,
The Fugs,
Drive Like Jehu,
Magazine,
The Pop Group,
The Real Kids,
The Slits,
The Sisters of Mercy,
the Slits,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.