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 Guatemala and from Winnipeg.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 harpsichord 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 The Chocolate Watch Band to the jazz kids.
I played it at the Roxy.
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 Vaughan Mason & Crew. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Silicon Teens 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 an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Captain Beefheart & His Magic Band,
Jeff Lynne,
Spandau Ballet,
Ultravox,
Selector Dub Narcotic,
Harry Pussy,
Sarah Menescal,
Nico,
PIL,
The Kinks,
Todd Rundgren,
Aural Exciters,
Rosa Yemen,
Susan Cadogan,
Ralphi Rosario,
Kool Moe Dee,
Con Funk Shun,
the Fania All-Stars,
The Birthday Party,
Soft Machine,
Camouflage,
Teenage Jesus and the Jerks,
Guru Guru,
Donald Byrd,
Jacques Brel,
The Grass Roots,
Erykah Badu,
Suicide,
Lebanon Hanover,
The Vogues,
Heaven 17,
The Seeds,
Sun Ra,
Kevin Saunderson,
Tomorrow,
Inner City,
The Barracudas,
Dawn Penn,
The J.B.'s,
The Cosmic Jokers,
Zapp,
Hashim,
OOIOO,
June Days,
Siouxsie and the Banshees,
Junior Murvin,
Kango’s Stein Massive,
The Alarm Clocks,
Thinking Fellers Union Local 282,
Johnny Osbourne,
Sonic Youth,
Fat Boys,
The Count Five,
A Certain Ratio,
Letta Mbulu,
The Beau Brummels,
Michelle Simonal,
Hasil Adkins,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.