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 Tajikistan and from Toronto.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Manchester and Halifax.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Morten Harket to the rock kids.
I played it at the Crocodile.
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 Barry Ungar. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Loose Ends record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
Eden Ahbez,
The Velvet Underground,
Man Parrish,
Rahsaan Roland Kirk,
Trumans Water,
Freddie Wadling,
New Age Steppers,
The Skatalites,
The Toasters,
the Fania All-Stars,
Don Cherry,
Unwound,
Joey Negro,
Lou Reed,
The Busters,
Kauko Röyhkä ja Narttu,
The Birthday Party,
Magazine,
Terror Squad Feat. Camron,
Dead Boys,
Aloha Tigers,
This Heat,
Brass Construction,
The Standells,
Archie Shepp,
Swell Maps,
Oblivians,
The Electric Prunes,
Quadrant,
Boredoms,
Donald Byrd,
China Crisis,
The Jesus and Mary Chain,
Cymande,
Reagan Youth,
The Detroit Cobras,
Accadde A,
Eric B and Rakim,
World's Most,
Black Pus,
Sixth Finger,
Man Eating Sloth,
Teenage Jesus and the Jerks,
London Community Gospel Choir,
Shuggie Otis,
Zapp,
Skriet,
The Stooges,
The Golliwogs,
Nick Cave & The Bad Seeds,
June of 44,
Symarip,
Ossler,
Barry Ungar,
Massinfluence,
Warsaw,
Marcia Griffiths,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.