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 Poland and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 Wings to the jazz 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 Byron Stingily. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Boz Scaggs record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Faraquet,
Siouxsie and the Banshees,
The Men They Couldn't Hang,
Bang On A Can,
Rod Modell,
Nik Kershaw,
The Mojo Men,
Scan 7,
Heaven 17,
Buzzcocks,
Tropical Tobacco,
The Evens,
June of 44,
Aloha Tigers,
Joyce Sims,
Henry Cow,
The Kinks,
Jandek,
Marshall Jefferson,
Alison Limerick,
David Bowie,
Avey Tare's Slasher Flicks,
James White and The Blacks,
The Names,
Pantytec,
Graham Central Station,
Vladislav Delay,
Visage,
Max Romeo,
Peter Gordon & Love of Life Orchestra,
Roy Ayers Ubiquity,
Eric B and Rakim,
Teenage Jesus and the Jerks,
John Lydon,
Duran Duran,
Das Ding,
Cheater Slicks,
Sun Ra,
Sugar Minott,
Deakin,
The Associates,
Soul II Soul,
DJ Sneak,
Deadbeat,
Circle Jerks,
Rufus Thomas,
The Cure,
Quadrant,
Erykah Badu,
Tears for Fears,
The Buckinghams,
Juan Atkins,
Loose Ends,
Lou Reed & Metallica,
Byron Stingily,
Swell Maps,
The Divine Comedy,
The American Breed, The American Breed, The American Breed, The American Breed.
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.