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 Paraguay and from Toronto.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1975.
I'm losing my edge.
To all the kids in Mumbai and Johannesburg.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Johnny Osbourne to the dance 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 MC5. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
World's Most,
The Associates,
The Gun Club,
Gastr Del Sol,
Negative Approach,
Althea and Donna,
Girls At Our Best!,
Pantaleimon,
Aloha Tigers,
Nik Kershaw,
Drive Like Jehu,
Slave,
Deadbeat,
Silicon Teens,
Kerri Chandler,
L. Decosne,
Black Pus,
Jerry's Kids,
Ultravox,
Lower 48,
The Victims,
Electric Prunes,
Electric Light Orchestra,
Tears for Fears,
Sixth Finger,
Davy DMX,
Deepchord,
Masters at Work,
Rapeman,
the Bar-Kays,
The Cramps,
Black Bananas,
Lalann,
Amon Düül II,
The Sisters of Mercy,
Brothers Johnson,
The Happenings,
The Grass Roots,
Stiv Bators,
Maurizio,
Outsiders,
Popol Vuh,
Bang on a Can All-Stars,
Moby Grape,
DeepChord presents Echospace,
A Flock of Seagulls,
Drexciya,
Dead Boys,
Rotary Connection,
Tommy Roe,
Alison Limerick,
Supertramp,
Skaos,
Joyce Sims,
Siglo XX,
Cecil Taylor,
Andrew Ashong & Theo Parrish,
Throbbing Gristle,
Eyeless In Gaza,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.