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 El Salvador and from Beijing.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
I'm losing my edge to the art-school Manila 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Chrome to the crunk kids.
I played it at the Spitz.
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 Das Ding. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Maleditus Sound 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 '80s cut and another box set from the '90s.
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 Mark Hollis record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Terror Squad Feat. Camron,
James White and The Blacks,
Bang on a Can All-Stars,
Faraquet,
Althea and Donna,
Popol Vuh,
The Golliwogs,
The Fuzztones,
Judy Mowatt,
Fatback Band,
Fluxion,
Bauhaus,
Throbbing Gristle,
Wasted Youth,
The Names,
Unrelated Segments,
Lonnie Liston Smith,
Bobbi Humphrey,
Ajijia Myrayebe,
Kauko Röyhkä ja Narttu,
The Cowsills,
Dual Sessions,
Gil Scott Heron,
the Slits,
Avey Tare & Kría Brekkan,
Glenn Branca,
B.T. Express,
Lower 48,
Depeche Mode,
Sällskapet,
Andrew Hill,
Supertramp,
Kas Product,
Smog,
Albert Ayler,
The Blues Magoos,
Underground Resistance,
Joe Finger,
John Holt,
JFA,
Pantaleimon,
Pagans,
Boredoms,
Brand Nubian,
Massinfluence,
Nils Olav,
Blake Baxter,
Camberwell Now,
The Associates,
Hashim,
Colin Newman,
Louis and Bebe Barron,
The Searchers,
Television Personalities,
Mars,
Charles Mingus,
Josef K,
Easy Going,
Roy Ayers Ubiquity,
T. Rex,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.