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 Italy and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Spokane.
I'm losing my edge to the art-school Madrid 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 spring reverb 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 Excepter to the grime 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 Alison Limerick. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Rahsaan Roland Kirk,
Lou Reed,
Fela Kuti,
Roy Ayers,
Warsaw,
Kerri Chandler,
Electric Prunes,
Fluxion,
Carl Craig,
Rites of Spring,
Chrome,
Hardrive,
Roy Ayers Ubiquity,
Rod Modell,
The Flesh Eaters,
Can,
Parry Music,
Lizzy Mercier Descloux,
Kool Moe Dee,
Joyce Sims,
Bootsy's Rubber Band,
Piero Umiliani,
Swans,
The Alarm Clocks,
DJ Sneak,
Kings Of Tomorrow,
The West Coast Pop Art Experimental Band,
Niagra,
Bad Manners,
The Gun Club,
Lou Christie,
The Dave Clark Five,
Royal Trux,
Gil Scott-Heron & Brian Jackson,
Technova,
Roxette,
The Offenders,
Section 25,
Visionaries,LMNO, T- Love & Iriscience,
The Fire Engines,
Maleditus Sound,
Silicon Teens,
Robert Hood,
The Shadows of Knight,
OOIOO,
Tommy Roe,
Easy Going,
Sandy B,
Moby Grape,
Brand Nubian,
Andrew Hill,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Pretty Things,
Girls At Our Best!,
Crispy Ambulance,
10cc,
Scan 7,
The Durutti Column,
June Days,
The Vogues,
Ultravox,
a-ha,
The Sisters of Mercy,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.