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 Ireland and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Halifax and Lyon.
I'm losing my edge to the art-school Columbus 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 synthesizer 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 Jesper Dahlbäck to the dance kids.
I played it at the Hacienda.
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 Ornette Coleman. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal funk 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 a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Wings record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Crash Course in Science,
Gregory Isaacs,
Alison Limerick,
Country Joe & The Fish,
T. Rex,
Scratch Acid,
Vaughan Mason & Crew,
Lou Christie,
The Durutti Column,
Marcia Griffiths,
China Crisis,
The Cowsills,
Graham Central Station,
Eden Ahbez,
Von Mondo,
Juan Atkins,
Terrestrial Tones,
Talk Talk,
In Retrospect,
Idris Muhammad,
Cal Tjader,
Jeff Lynne,
Rowland S Howard / Lydia Lunch,
ABC,
Kayak,
Zero Boys,
Althea and Donna,
Be Bop Deluxe,
Fat Boys,
DJ Style,
Dorothy Ashby,
Strawberry Alarm Clock,
Hardrive,
Harmonia,
One Last Wish,
New Order,
Kerrie Biddell,
Marshall Jefferson,
Brand Nubian,
Circle Jerks,
La Düsseldorf,
Bobby Sherman,
a-ha,
Eddi Front,
The Peanut Butter Conspiracy,
Lee Hazlewood,
Rosa Yemen,
Zapp,
The Busters,
Con Funk Shun,
Public Image Ltd.,
Bob Dylan,
The Men They Couldn't Hang,
The Red Krayola,
Reagan Youth,
David McCallum,
Mars,
Mark Hollis,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.