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 Nigeria and from Cairo.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school Houston 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 CMW to the rap 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 Albert Ayler. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
The Moody Blues,
The Toasters,
Electric Light Orchestra,
Negative Approach,
Scientists,
Surgeon,
The Detroit Cobras,
Radiohead,
Sugar Minott,
Connie Case,
Kerrie Biddell,
Joe Smooth,
Bobby Byrd,
Kevin Saunderson,
Dead Boys,
The Victims,
Aswad,
Soulsonic Force,
Section 25,
the Soft Cell,
Blancmange,
Teenage Jesus and the Jerks,
Lower 48,
Camberwell Now,
a-ha,
Lalann,
Bush Tetras,
Hoover,
Thinking Fellers Union Local 282,
CMW,
48th St. Collective,
Lee Hazlewood,
Archie Shepp,
Liaisons Dangereuses,
Boogie Down Productions,
In Retrospect,
John Coltrane,
Moby Grape,
Jesper Dahlback,
Andrew Hill,
Pharaoh Sanders and the Fire Engines,
Wolf Eyes,
Model 500,
The Buckinghams,
Pole,
Moebius,
Skaos,
Slave,
Kool Moe Dee,
Buzzcocks,
Joyce Sims,
Das Ding,
One Last Wish,
Ultramagnetic MC's,
10cc,
Graham Central Station,
Spandau Ballet,
Joe Finger,
Anakelly,
Television,
DJ Sneak,
Kas Product,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.