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 Accra.
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 1970.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school Manila 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 The Gap Band to the grime kids.
I played it at the Roxy.
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 Basic Channel. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Jeff Lynne 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 theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Glambeats Corp.,
Gian Franco Pienzio,
Howard Jones,
Alison Limerick,
The Move,
Ituana,
Rekid,
Barry Ungar,
Agent Orange,
The Electric Prunes,
Susan Cadogan,
Camberwell Now,
Saccharine Trust,
Alice Coltrane,
Simply Red,
Thinking Fellers Union Local 282,
Groovy Waters,
Notorious Big And Bone Thugs,
Mary Jane Girls,
Yazoo,
Masters at Work,
David McCallum,
DJ Sneak,
Rosa Yemen,
Boogie Down Productions,
Sly & The Family Stone,
Trumans Water,
Chrome,
Scientists,
Joe Smooth,
Procol Harum,
Crime,
The Five Americans,
The Saints,
Joy Division,
Gichy Dan,
The Victims,
H. Thieme,
Franke,
Crispian St. Peters,
Blancmange,
Electric Prunes,
The Selecter,
Laurel Aitken,
Sun Ra Arkestra,
Hoover,
The Birthday Party,
Supertramp,
The Smiths,
Moebius,
DNA,
Stiv Bators,
Joe Finger,
Jandek,
Audionom,
Robert Görl,
Henry Cow,
New York Dolls,
John Cale,
Steve Hackett,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.