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 Somalia and from Taipei.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro 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 Sarah Menescal to the dance 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 Glenn Branca. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every Brothers Johnson 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 '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Qualms,
Infiniti,
the Soft Cell,
Swell Maps,
Rapeman,
The Wake,
Bang On A Can,
Tommy Roe,
Spoonie Gee,
John Foxx,
Robert Hood,
Japan,
Porter Ricks,
the Slits,
Aswad,
Sixth Finger,
Kenny Larkin,
The Slits,
Main Source,
The Moleskins,
Erasure,
Pole,
The Fortunes,
Monks,
CMW,
Roy Ayers Ubiquity,
Mars,
The Searchers,
The Dead C,
John Lydon,
The Motions,
London Community Gospel Choir,
Be Bop Deluxe,
Rod Modell,
Radio Birdman,
Y Pants,
Schoolly D,
Albert Ayler,
B.T. Express,
The Buckinghams,
Theoretical Girls,
Swans,
Half Japanese,
Brass Construction,
Newcleus,
The Neon Judgement,
Peter Gordon & Love of Life Orchestra,
Public Image Ltd.,
Organ,
Electric Prunes,
Bootsy's Rubber Band,
Shuggie Otis,
Liaisons Dangereuses,
Royal Trux,
Jerry Gold Smith,
Section 25,
Sun Ra Arkestra,
Flash Fearless,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.