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 Iran and from Woodstock.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Johannesburg 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 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 Half Japanese to the grime 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 Dawn Penn. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every The Divine Comedy 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 '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Eli Mardock,
Liaisons Dangereuses,
Kaleidoscope,
E-Dancer,
Terry Callier,
Deepchord,
Echo & the Bunnymen,
Von Mondo,
H. Thieme,
Flipper,
Inner City,
The Electric Prunes,
Arcadia,
Faust,
Pere Ubu,
Albert Ayler,
Andrew Ashong & Theo Parrish,
Yaz,
Tom Boy,
Barrington Levy,
The Cowsills,
Sex Pistols,
Jeru the Damaja,
Scratch Acid,
Warsaw,
Los Fastidios,
Ten City,
Pet Shop Boys,
Urselle,
Liliput,
Funky Four + One,
Rahsaan Roland Kirk,
Beasts of Bourbon,
Smog,
Byron Stingily,
Surgeon,
Nik Kershaw,
The Chocolate Watch Band,
Moebius,
Minnie Riperton,
the Soft Cell,
Aural Exciters,
Harpers Bizarre,
Stereo Dub,
Dark Day,
Ituana,
Richard Hell and the Voidoids,
Bizarre Inc.,
The Five Americans,
Leonard Cohen,
The Royal Family And The Poor,
These Immortal Souls,
Soul II Soul,
Shuggie Otis,
Pylon,
Supertramp,
Vainqueur,
Das Ding,
Girls At Our Best!,
Soft Machine,
Lakeside,
The Alarm Clocks,
Cameo, Cameo, Cameo, Cameo.
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.