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 New Zealand and from Jakarta.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Paris and Toronto.
I'm losing my edge to the art-school Taipei 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Kango’s Stein Massive 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 Fat Boys. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Dawn Penn 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 '90s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Kauko Röyhkä ja Narttu,
Be Bop Deluxe,
The Names,
Maurizio,
Sly & The Family Stone,
Mark Hollis,
Liaisons Dangereuses,
Lyres,
Jimmy McGriff,
Marvin Gaye,
Laurel Aitken,
Scientists,
Crispy Ambulance,
Fad Gadget,
The Young Rascals,
Swell Maps,
Interpol,
Janne Schatter,
Marshall Jefferson,
Barclay James Harvest,
Mr. Review,
Marc Almond,
Kango’s Stein Massive,
Yellowson,
Wolf Eyes,
Country Joe & The Fish,
Archie Shepp,
Q and Not U,
D'Angelo,
Glambeats Corp.,
Bobby Sherman,
Rahsaan Roland Kirk,
Max Romeo,
Fluxion,
Boredoms,
Buzzcocks,
Eric Copeland,
Marine Girls,
Newcleus,
Sister Nancy,
Art Ensemble Of Chicago,
Roy Ayers,
Siouxsie and the Banshees,
Deakin,
Minny Pops,
Robert Görl,
Joe Finger,
Gang Gang Dance,
The Sound,
Joyce Sims,
Q65,
Sad Lovers and Giants,
Aaron Thompson,
Sugar Minott,
Traffic Nightmare,
Lou Reed & Metallica,
Neil Young & Crazy Horse,
Henry Cow,
Bush Tetras,
the Bar-Kays,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.