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 Thailand and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
I'm losing my edge to the art-school Lagos 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Delta 5 to the jazz 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 kango's stein massive. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Country Joe & The Fish,
Bobby Hutcherson,
Suburban Knight,
10cc,
Procol Harum,
Q and Not U,
The Divine Comedy,
Roger Hodgson,
Peter Gordon & Love of Life Orchestra,
Lou Reed & Metallica,
Alison Limerick,
Black Flag,
Schoolly D,
Eli Mardock,
Bobby Byrd,
Al Stewart,
The Motions,
DJ Style,
The Index,
The Selecter,
Groovy Waters,
The Music Machine,
The Knickerbockers,
UT,
DNA,
The Move,
Gong,
Dark Day,
Rod Modell,
Pulsallama,
Icehouse,
The Doobie Brothers,
Technova,
John Holt,
The Fire Engines,
Jeff Lynne,
The Doors,
Organ,
JFA,
Tubeway Army,
Anakelly,
The Modern Lovers,
Godley & Creme,
Guru Guru,
Dawn Penn,
The Five Americans,
The West Coast Pop Art Experimental Band,
Fela Kuti,
Sixth Finger,
Robert Hood,
Justin Hinds & The Dominoes,
Half Japanese,
Flamin' Groovies,
The Detroit Cobras,
MDC,
Mission of Burma,
London Community Gospel Choir,
DeepChord presents Echospace,
Lucky Dragons,
Skriet, Skriet, Skriet, Skriet.
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.