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 San Marino and from Jakarta.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Severed Heads to the funk 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 Liaisons Dangereuses. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Man Parrish 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Brick,
Junior Murvin,
Goldenarms,
Roxy Music,
Chris & Cosey,
Connie Case,
Strawberry Alarm Clock,
Art Ensemble Of Chicago,
Peter and Kerry,
Eyeless In Gaza,
Gil Scott-Heron and Jamie xx,
The Music Machine,
Roger Hodgson,
Lou Reed & John Cale,
Pharoah Sanders,
Mark Hollis,
Neil Young & Crazy Horse,
Section 25,
Supertramp,
The Sisters of Mercy,
Bang on a Can All-Stars,
Shuggie Otis,
Eric B and Rakim,
Pole,
Bronski Beat,
One Last Wish,
Franke,
Altered Images,
K-Klass,
Kenny Larkin,
Soul II Soul,
Masters at Work,
The Chocolate Watch Band,
These Immortal Souls,
Johnny Osbourne,
Massinfluence,
The American Breed,
The Index,
Sonic Youth,
JFA,
David McCallum,
The Dead C,
Bad Manners,
Marc Almond,
Arthur Verocai,
Neu!,
Richard Hell and the Voidoids,
Pylon,
Eve St. Jones,
The Seeds,
Deutsch Amerikanische Freundschaft,
Scan 7,
Magma,
John Holt,
Davy DMX,
Lonnie Liston Smith,
Gary Puckett & The Union Gap,
Lungfish,
Youth Brigade,
La Düsseldorf,
Ultimate Spinach,
Yaz,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.