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 Korea North and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1971.
I'm losing my edge.
To all the kids in Bologna and Bologna.
I'm losing my edge to the art-school Seoul 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 David Bowie 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 Gil Scott-Heron and Jamie xx to the jazz kids.
I played it at the 40 Watt.
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 Scott Walker. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Groovy Waters record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Captain Beefheart & His Magic Band,
Second Layer,
The Techniques,
Alphaville,
Hoover,
Unrelated Segments,
David Axelrod,
Chris & Cosey,
K-Klass,
Michelle Simonal,
Lower 48,
Beasts of Bourbon,
Steve Hackett,
The Index,
Heavy D & The Boyz,
The Dead C,
Scion,
Fela Kuti,
Mo-Dettes,
the Normal,
Scan 7,
Donald Byrd,
The Alarm Clocks,
Isaac Hayes,
Matthew Halsall,
Das Ding,
ABBA,
Eddi Front,
Zero Boys,
Bootsy Collins,
The Trojans,
Lucky Dragons,
Make Up,
Adolescents,
Country Joe & The Fish,
Camouflage,
Red Lorry Yellow Lorry,
Oppenheimer Analysis,
T.S.O.L.,
F. McDonald,
Rosa Yemen,
The Litter,
Massinfluence,
Yellowson,
Nik Kershaw,
Pantaleimon,
Wally Richardson,
Lou Reed & Metallica,
In Retrospect,
Panda Bear,
Electric Prunes,
Rowland S Howard / Lydia Lunch,
cv313,
Liliput,
The United States of America,
The Martian,
The Skatalites,
Inner City,
Maurizio,
Main Source, Main Source, Main Source, Main Source.
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.