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 Niger and from Hong Kong.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school Glasgow 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Aural Exciters to the punk kids.
I played it at Cafe Wha.
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 Dorothy Ashby. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Hoover record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
The Fugs,
Soul II Soul,
Max Romeo,
Delta 5,
Letta Mbulu,
Depeche Mode,
June of 44,
Royal Trux,
The Pop Group,
Massinfluence,
Larry & the Blue Notes,
Ultimate Spinach,
London Community Gospel Choir,
Nik Kershaw,
Brand Nubian,
Sight & Sound,
Eyeless In Gaza,
Arab on Radar,
Angry Samoans,
The Black Dice,
The Last Poets,
the Slits,
New York Dolls,
Deutsch Amerikanische Freundschaft,
Smog,
H. Thieme,
Sällskapet,
Flipper,
Quando Quango,
The Fire Engines,
MDC,
The Red Krayola,
The Tremeloes,
David Bowie,
Ludus,
Kerrie Biddell,
John Coltrane,
Marc Almond,
Avey Tare,
The Detroit Cobras,
X-101,
Eric B and Rakim,
DNA,
Marmalade,
China Crisis,
Ponytail,
the Bar-Kays,
The Alarm Clocks,
Rahsaan Roland Kirk,
The Men They Couldn't Hang,
The Pretty Things,
Mantronix,
Gil Scott-Heron and Jamie xx,
Electric Light Orchestra,
Curtis Mayfield,
Echo & the Bunnymen,
Danielle Patucci,
Unrelated Segments,
The Saints, The Saints, The Saints, The Saints.
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.