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 Indonesia 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 1965 to 1974.
I'm losing my edge.
To all the kids in London and Lagos.
I'm losing my edge to the art-school Edmonton 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Khruangbin to the rap 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 Bang On A Can. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Mission of Burma 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Leonard Cohen,
Sunsets and Hearts,
Black Flag,
Crash Course in Science,
Organ,
Massinfluence,
Deutsch Amerikanische Freundschaft,
Barry Ungar,
The Cure,
Eyeless In Gaza,
Brothers Johnson,
Isaac Hayes,
a-ha,
Peter Gordon & Love of Life Orchestra,
Red Lorry Yellow Lorry,
The Trojans,
Maleditus Sound,
Janne Schatter,
Essential Logic,
The Red Krayola,
R.M.O.,
Al Stewart,
Charles Mingus,
Prince Buster,
H. Thieme,
Infiniti,
Eddi Front,
Major Organ And The Adding Machine,
Carl Craig,
Barclay James Harvest,
Spoonie Gee,
Sister Nancy,
Joyce Sims,
Gabor Szabo,
Von Mondo,
Gang Gang Dance,
48th St. Collective,
Bauhaus,
Curtis Mayfield,
Kings Of Tomorrow,
Bush Tetras,
Radiohead,
The Chocolate Watch Band,
Mark Hollis,
Eurythmics,
The Vogues,
Dorothy Ashby,
Sun Ra,
Newcleus,
The Names,
World's Most,
Gary Puckett & The Union Gap,
Guru Guru,
The J.B.'s,
Andrew Ashong & Theo Parrish,
Laurel Aitken,
Siglo XX,
Circle Jerks,
Man Parrish,
The Stooges,
Arcadia,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.