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 South Africa 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 1960 to 1973.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school Portland 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 1978 at the first Visage 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 The Barracudas to the electroclash kids.
I played it at the Roxy.
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 Nik Kershaw. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Harry Pussy,
Hardrive,
Sound Behaviour,
Kool G Rap & DJ Polo,
Yusef Lateef,
Robert Hood,
Stetsasonic,
The Count Five,
Scratch Acid,
Jandek,
Black Moon,
Von Mondo,
The Misunderstood,
Roy Ayers,
Terry Callier,
Public Enemy,
The Slackers,
Jerry Gold Smith,
Icehouse,
The Doobie Brothers,
Rekid,
The Walker Brothers,
Sugar Minott,
Faust,
Roxy Music,
Throbbing Gristle,
The Tremeloes,
Gil Scott-Heron and Jamie xx,
Marine Girls,
Sun Ra,
Grandmaster Flash and the Furious Five,
Deepchord,
Sandy B,
James White and The Blacks,
It's A Beautiful Day,
The Vogues,
Marvin Gaye,
Slave,
Bizarre Inc.,
Model 500,
Ken Boothe,
Severed Heads,
Curtis Mayfield,
Tears for Fears,
Masters at Work,
Royal Trux,
KRS-One,
Jerry's Kids,
Qualms,
Byron Stingily,
Art Ensemble Of Chicago,
Roy Ayers Ubiquity,
Amon Düül II,
Avey Tare,
Larry & the Blue Notes,
Mission of Burma,
Matthew Bourne,
New Order,
The J.B.'s,
The Selecter, The Selecter, The Selecter, The Selecter.
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.