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 Cape Verde and from Lille.
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 1971.
I'm losing my edge.
To all the kids in Delhi and Copenhagen.
I'm losing my edge to the art-school Salvador 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Divine Comedy to the grime kids.
I played it at the Troubador.
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 Sexual Harrassment. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every The Invisible 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Scientists,
Porter Ricks,
Laurel Aitken,
Gang Green,
David McCallum,
Maurizio,
Rowland S Howard / Lydia Lunch,
Deadbeat,
Excepter,
The Mighty Diamonds,
The Sound,
Reuben Wilson,
Young Marble Giants,
Marvin Gaye,
The Grass Roots,
Johnny Osbourne,
This Heat,
Negative Approach,
Au Pairs,
The Blues Magoos,
Faust,
The Toasters,
Motorama,
The Slackers,
The Black Dice,
Henry Cow,
Stockholm Monsters,
Terrestrial Tones,
Sexual Harrassment,
Man Eating Sloth,
Slave,
The Red Krayola,
Byron Stingily,
X-102,
H. Thieme,
Deutsch Amerikanische Freundschaft,
the Normal,
Aaron Thompson,
The Gun Club,
Colin Newman,
cv313,
Joyce Sims,
Arab on Radar,
Skarface,
Index,
The Tremeloes,
Country Teasers,
Grey Daturas,
Idris Muhammad,
A Certain Ratio,
Charles Mingus,
Eddi Front,
Steve Hackett,
Brothers Johnson,
Terror Squad Feat. Camron,
Aural Exciters,
Depeche Mode,
Shoche,
Roxette,
Pete Rock & C.L. Smooth,
Darondo,
Quantec,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.