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 Poland and from Hong Kong.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Bremen.
I'm losing my edge to the art-school Mumbai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Victims to the crunk kids.
I played it at the Astoria.
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 The Fugs. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Eurythmics 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
The Neon Judgement,
Bob Dylan,
The Walker Brothers,
Talk Talk,
Dark Day,
Faraquet,
Moss Icon,
The Wake,
Black Bananas,
Arthur Verocai,
Radiopuhelimet,
Oneida,
Red Lorry Yellow Lorry,
Grandmaster Flash and the Furious Five,
the Association,
Simply Red,
The Count Five,
The Cowsills,
Newcleus,
Ronnie Foster,
Qualms,
Monolake,
Procol Harum,
Ultra Naté,
Hot Snakes,
Darondo,
Deutsch Amerikanische Freundschaft,
Bobbi Humphrey,
Neil Young & Crazy Horse,
Soulsonic Force,
Rod Modell,
David Bowie,
Terrestrial Tones,
Alice Coltrane,
Major Organ And The Adding Machine,
Avey Tare,
Nation of Ulysses,
Can,
The Mighty Diamonds,
Eric B and Rakim,
The Gladiators,
The Names,
The Techniques,
Gary Puckett & The Union Gap,
Crooked Eye,
Andrew Ashong & Theo Parrish,
Groovy Waters,
Lizzy Mercier Descloux,
Suicide,
Swans,
Fad Gadget,
Drive Like Jehu,
Danielle Patucci,
Brothers Johnson,
Unrelated Segments,
Das Ding,
Goldenarms,
Judy Mowatt,
Fluxion, Fluxion, Fluxion, Fluxion.
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.