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 Syria and from Lille.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
I'm losing my edge to the art-school Stockholm 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 sitar sounds with much patience.
I was there when Lou Reed 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 Liliput to the funk kids.
I played it at CBGB's.
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 Rod Modell. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal dance 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 a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Prince Buster,
Aswad,
Major Organ And The Adding Machine,
The Trojans,
Loose Ends,
The Smiths,
The Names,
Alphaville,
Reagan Youth,
Ralphi Rosario,
Yaz,
David McCallum,
Pantaleimon,
Kurtis Blow,
Ronnie Foster,
Supertramp,
FM Einheit,
Gang Starr,
Sexual Harrassment,
Pharoah Sanders,
Sparks,
Desert Stars,
Gerry Rafferty,
Brothers Johnson,
Pierre Henry,
Freddie Wadling,
Harry Pussy,
The Gun Club,
Stereo Dub,
Delta 5,
Gang Green,
Rod Modell,
cv313,
Lakeside,
The Modern Lovers,
Man Parrish,
The Five Americans,
Hasil Adkins,
10cc,
Donny Hathaway,
Wire,
Sällskapet,
The Standells,
Unwound,
Los Fastidios,
Black Pus,
The New Christs,
The Leaves,
Dead Boys,
The Beau Brummels,
Liaisons Dangereuses,
Little Man,
Gastr Del Sol,
Gichy Dan,
The Music Machine,
Kaleidoscope,
Oblivians,
Minny Pops,
Second Layer,
Eve St. Jones,
Spandau Ballet,
Ituana, Ituana, Ituana, Ituana.
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.