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 Mozambique and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Tim Buckley to the disco kids.
I played it at the Troubador.
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 Teenage Jesus and the Jerks. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Lyres,
Franke,
Erasure,
The Standells,
Jeru the Damaja,
Blossom Toes,
Todd Terry,
Flamin' Groovies,
Easy Going,
The Move,
The Cramps,
David Axelrod,
Idris Muhammad,
Gang Gang Dance,
Rosa Yemen,
Youth Brigade,
Circle Jerks,
Pharaoh Sanders and the Fire Engines,
Sonny Sharrock,
The Fall,
Public Image Ltd.,
The Gories,
Minnie Riperton,
D'Angelo,
Dead Boys,
Stockholm Monsters,
The Martian,
Lizzy Mercier Descloux,
The Moody Blues,
Livin' Joy,
Eddi Front,
Negative Approach,
Bobby Hutcherson,
Rakim,
The Residents,
Wally Richardson,
The West Coast Pop Art Experimental Band,
Darondo,
Echo & the Bunnymen,
Amon Düül II,
Mantronix,
Niagra,
Brass Construction,
Rhythim Is Rhythim,
Dual Sessions,
Camouflage,
Fluxion,
The Tremeloes,
Crooked Eye,
The Techniques,
The Names,
Fat Boys,
Ultimate Spinach,
Sparks,
Mad Mike,
Röyhkä ja Rättö ja Lehtisalo,
Don Cherry,
Lucky Dragons,
The Saints,
Metal Thangz,
Radio Birdman,
Deakin,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.