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 Saudi Arabia and from Woodstock.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Copenhagen 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 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 Boogie Down Productions to the jazz kids.
I played it at the Astoria.
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 Judy Mowatt. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
The Fire Engines,
Lalann,
Soul II Soul,
Siouxsie and the Banshees,
The Electric Prunes,
Cluster,
Erykah Badu,
Cal Tjader,
Qualms,
Absolute Body Control,
Can,
Heavy D & The Boyz,
Buzzcocks,
Gregory Isaacs,
The Slackers,
The Cramps,
Bobby Sherman,
Frankie Knuckles,
Make Up,
Lungfish,
Gian Franco Pienzio,
Model 500,
Sad Lovers and Giants,
Anakelly,
Country Joe & The Fish,
Harry Pussy,
Sound Behaviour,
Eyeless In Gaza,
Amon Düül,
The Real Kids,
Manfred Mann's Earth Band,
Neil Young & Crazy Horse,
Gil Scott Heron,
Rotary Connection,
Bob Dylan,
The Searchers,
Livin' Joy,
The Happenings,
Bang On A Can,
Roy Ayers,
The Red Krayola,
Terry Callier,
Faust,
Johnny Clarke,
Ultravox,
Pussy Galore,
Suburban Knight,
Albert Ayler,
Letta Mbulu,
Peter & Gordon,
Eddi Front,
Todd Rundgren,
The Misunderstood,
Kings Of Tomorrow,
MC5,
the Slits,
The Smoke,
Skaos,
Morten Harket,
Patti Smith,
Eve St. Jones,
OOIOO,
The Martian, The Martian, The Martian, The Martian.
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.