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 San Marino and from Houston.
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 1972.
I'm losing my edge.
To all the kids in Spokane and Accra.
I'm losing my edge to the art-school London 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 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin 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 Agent Orange to the punk kids.
I played it at the Spitz.
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 Kerrie Biddell. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal crunk 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 linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Black Moon,
Richard Hell and the Voidoids,
Khruangbin,
Wasted Youth,
The Doors,
Joey Negro,
The Alarm Clocks,
Max Romeo,
Livin' Joy,
The Moleskins,
Major Organ And The Adding Machine,
Organ,
Suicide,
Alison Limerick,
Sixth Finger,
Manfred Mann's Earth Band,
The Fortunes,
Bootsy's Rubber Band,
Procol Harum,
Warsaw,
Laurel Aitken,
The Martian,
Wolf Eyes,
The Fire Engines,
Dennis Brown,
Rod Modell,
The Shadows of Knight,
The Seeds,
Andrew Hill,
Nik Kershaw,
Alton Ellis,
Pere Ubu,
The Fuzztones,
Patti Smith,
Cameo,
Roxette,
Bill Wells,
Mary Jane Girls,
Sarah Menescal,
Tim Buckley,
Grey Daturas,
Stetsasonic,
Eric Dolphy,
Country Teasers,
Ronnie Foster,
Röyhkä ja Rättö ja Lehtisalo,
David Axelrod,
Spoonie Gee,
Arab on Radar,
Electric Light Orchestra,
the Bar-Kays,
Radiopuhelimet,
June of 44,
The Raincoats,
Kerrie Biddell,
Kurtis Blow,
James White and The Blacks,
Camron Feat. Jay Z And Juelz,
Dawn Penn,
The Music Machine,
Japan,
Excepter,
Pylon, Pylon, Pylon, Pylon.
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.