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 Ireland and from Spokane.
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 1966 to 1975.
I'm losing my edge.
To all the kids in London and Salvador.
I'm losing my edge to the art-school Houston 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar 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 One Last Wish to the rock kids.
I played it at CBGB's.
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 Byron Stingily. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every New York Dolls 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 '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Fifty Foot Hose,
Q65,
Sandy B,
Crispian St. Peters,
Red Lorry Yellow Lorry,
The Standells,
Animal Collective,
Section 25,
The Moody Blues,
Minor Threat,
Harmonia,
Excepter,
Gang of Four,
Terrestrial Tones,
Ultramagnetic MC's,
The Blues Magoos,
Motorama,
Franke,
Ronan,
Warsaw,
Joey Negro,
Fatback Band,
Boz Scaggs,
In Retrospect,
Leonard Cohen,
Sonic Youth,
Byron Stingily,
Supertramp,
Eric Copeland,
Marshall Jefferson,
Tommy Roe,
Mo-Dettes,
Pylon,
Guru Guru,
Aaron Thompson,
John Foxx,
Gang Gang Dance,
The Cure,
Mandrill,
Andrew Hill,
The Mummies,
Public Enemy,
Lakeside,
Gabor Szabo,
The Victims,
Alice Coltrane,
Orchestral Manoeuvres in the Dark,
Mary Jane Girls,
Scrapy,
D'Angelo,
Johnny Clarke,
Hoover,
Quadrant,
Technova,
Bill Near,
Dennis Brown,
John Cale,
Sun City Girls,
David Axelrod,
Audionom,
Radiopuhelimet,
Bobby Womack,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.