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 El Salvador and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Bologna 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Lindisfarne to the crunk kids.
I played it at the 40 Watt.
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 Crispy Ambulance. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Tres Demented record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
The Names,
Mr. Review,
The Neon Judgement,
Maleditus Sound,
David Axelrod,
Lakeside,
Alice Coltrane,
Tomorrow,
Peter & Gordon,
Lee Hazlewood,
Sandy B,
Eurythmics,
Ultramagnetic MC's,
Saccharine Trust,
Avey Tare & Kría Brekkan,
Yaz,
The Martian,
Royal Trux,
The Happenings,
Mantronix,
Country Teasers,
F. McDonald,
Jacob Miller,
Amazonics,
The Kinks,
Cabaret Voltaire,
Siouxsie and the Banshees,
Throbbing Gristle,
Al Stewart,
Urselle,
L. Decosne,
Flash Fearless,
The Pretty Things,
Junior Murvin,
The New Christs,
The Remains,
Bang on a Can All-Stars,
Fear,
Kool G Rap & DJ Polo,
Cal Tjader,
T. Rex,
Schoolly D,
Eric Copeland,
The Zeros,
Soft Cell,
Joey Negro,
New Age Steppers,
48th St. Collective,
The Wake,
Intrusion,
Rod Modell,
Sun Ra Arkestra,
The Dave Clark Five,
Massinfluence,
Amon Düül,
Suburban Knight,
The Divine Comedy,
KRS-One,
Hardrive,
Robert Wyatt,
Parry Music,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.