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 Netherlands and from Hong Kong.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Beijing and Milan.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ sounds with much patience.
I was there when David Bowie 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 Graham Central Station to the grunge 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 Nik Kershaw. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Theoretical Girls,
Supertramp,
Joyce Sims,
Von Mondo,
The Star Department,
Maleditus Sound,
Gerry Rafferty,
Motorama,
Au Pairs,
Angels of Light & Akron/Family,
Crooked Eye,
Eric Copeland,
Procol Harum,
Bootsy's Rubber Band,
Boogie Down Productions,
Mr. Review,
Rosa Yemen,
Lakeside,
The Last Poets,
Brass Construction,
Oneida,
Chris Corsano,
Terry Callier,
Kool G Rap & DJ Polo,
Aaron Thompson,
The Zeros,
Aloha Tigers,
Ultravox,
The Move,
Yellowson,
New York Dolls,
The Fuzztones,
Pole,
The Slackers,
Bobby Hutcherson,
This Heat,
Toni Rubio,
Jandek,
Sixth Finger,
A Certain Ratio,
Bang On A Can,
Magma,
Gregory Isaacs,
Bauhaus,
Easy Going,
Anthony Braxton,
Barclay James Harvest,
Pantytec,
The Techniques,
Grey Daturas,
Boredoms,
X-Ray Spex,
Black Moon,
David Axelrod,
The American Breed,
Lindisfarne,
FM Einheit,
Sugar Minott,
Aswad,
Peter Gordon & Love of Life Orchestra,
John Holt,
Peter and Kerry,
Crime, Crime, Crime, Crime.
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.