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 Australia and from Lyon.
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 1974.
I'm losing my edge.
To all the kids in Mumbai and Paris.
I'm losing my edge to the art-school Bologna 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 1968 at the first Bowie practice in a loft in Bromley.
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 David Axelrod to the grunge kids.
I played it at the Crocodile.
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 The Monks. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Cheater Slicks record on German import.
I heard that you have a white label of every seminal jazz 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 snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Captain Beefheart & His Magic Band,
The Music Machine,
The Leaves,
Neil Young,
The Durutti Column,
Laurel Aitken,
Q65,
Jesper Dahlback,
The Neon Judgement,
Alice Coltrane,
R.M.O.,
Little Man,
Junior Murvin,
the Germs,
Fela Kuti,
The Doobie Brothers,
One Last Wish,
Warren Ellis,
The Walker Brothers,
Vainqueur,
The Grass Roots,
Lightning Bolt,
Avey Tare & Kría Brekkan,
Pierre Henry,
Delon & Dalcan,
Lyres,
ABBA,
Arthur Verocai,
Brick,
Chris Corsano,
Television Personalities,
Jerry Gold Smith,
Swans,
The Smoke,
Kool Moe Dee,
The Slackers,
Country Teasers,
Derrick May,
The Kinks,
Bootsy's Rubber Band,
The Buckinghams,
Matthew Halsall,
Ohio Players,
Warsaw,
Masters at Work,
Index,
Jacques Brel,
Donald Byrd,
Sad Lovers and Giants,
E-Dancer,
The Divine Comedy,
Radiohead,
the Normal,
Steve Hackett,
Henry Cow,
Marshall Jefferson,
Joe Smooth,
The Mummies,
Drive Like Jehu,
Piero Umiliani,
Public Enemy,
The Motions, The Motions, The Motions, The Motions.
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.