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 Haiti and from Seoul.
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 1977.
I'm losing my edge.
To all the kids in Edmonton and Philadelphia.
I'm losing my edge to the art-school Lille 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Oppenheimer Analysis to the funk kids.
I played it at Trash.
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 Jeff Mills. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Minutemen 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Normal,
Stetsasonic,
Amon Düül II,
The Skatalites,
Eddi Front,
The Stooges,
Art Ensemble Of Chicago,
Bauhaus,
Skaos,
Oppenheimer Analysis,
Fluxion,
Banda Bassotti,
Warsaw,
Country Teasers,
Yellowson,
Terror Squad Feat. Camron,
Ohio Players,
the Association,
Accadde A,
Pantytec,
Lou Reed & Metallica,
The Techniques,
The Alarm Clocks,
Lindisfarne,
Minnie Riperton,
Be Bop Deluxe,
The Invisible,
Fort Wilson Riot,
Radiopuhelimet,
Simply Red,
Liliput,
cv313,
Can,
Gil Scott-Heron and Jamie xx,
Sight & Sound,
Ultravox,
Unwound,
Sonny Sharrock,
Excepter,
Arab on Radar,
Beasts of Bourbon,
Heaven 17,
Peter and Kerry,
Anakelly,
Hardrive,
Hasil Adkins,
The American Breed,
La Düsseldorf,
The Blackbyrds,
Rotary Connection,
Kaleidoscope,
Barrington Levy,
Minny Pops,
Deutsch Amerikanische Freundschaft,
Pylon,
Sexual Harrassment,
The Walker Brothers,
The Remains,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.