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 Uganda and from Johannesburg.
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 1968 to 1975.
I'm losing my edge.
To all the kids in London and Calgary.
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 1973 at the first Television practice in a loft in New York.
I was working on the guitar 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 Henry Cow to the rock 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Marcia Griffiths,
Fifty Foot Hose,
Orchestral Manoeuvres in the Dark,
Harmonia,
June Days,
Crispy Ambulance,
Rapeman,
The Cure,
Marshall Jefferson,
the Swans,
The Cramps,
Moby Grape,
James White and The Blacks,
Kool Moe Dee,
Reagan Youth,
Eden Ahbez,
The Five Americans,
Cal Tjader,
Blake Baxter,
The Evens,
Urselle,
Boz Scaggs,
Liliput,
The Grass Roots,
the Sonics,
Infiniti,
Cybotron,
Sticky Fingaz feat. Raekwon,
Moebius,
Scratch Acid,
The Fugs,
Kerri Chandler,
Maleditus Sound,
Camouflage,
The Alarm Clocks,
Johnny Clarke,
John Foxx,
Slave,
Sun Ra Arkestra,
Faust,
Robert Hood,
Pussy Galore,
Isaac Hayes,
Gil Scott-Heron and Jamie xx,
Public Image Ltd.,
H. Thieme,
Scion,
Unrelated Segments,
Cabaret Voltaire,
Dorothy Ashby,
Rhythm & Sound,
Tomorrow,
Interpol,
CMW,
The Buckinghams,
The Pop Group,
Lalo Schifrin,
the Fania All-Stars,
The Trojans,
Motorama,
Stereo Dub,
The West Coast Pop Art Experimental Band,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.