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 Bhutan and from Bologna.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Philadelphia 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Residents to the rap kids.
I played it at the Troubador.
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 Theoretical Girls. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Swell Maps record on German import.
I heard that you have a white label of every seminal funk 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 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Gil Scott-Heron and Jamie xx,
It's A Beautiful Day,
Animal Collective,
The Dead C,
Fat Boys,
Absolute Body Control,
Country Joe & The Fish,
Excepter,
Severed Heads,
A Flock of Seagulls,
Gian Franco Pienzio,
Jacques Brel,
Sister Nancy,
Grandmaster Flash,
Piero Umiliani,
The Index,
The Fire Engines,
Carl Craig,
The Techniques,
Vainqueur,
The Pretty Things,
John Holt,
Dorothy Ashby,
Pere Ubu,
Neil Young & Crazy Horse,
Todd Terry,
Quando Quango,
Beasts of Bourbon,
Minnie Riperton,
Underground Resistance,
The Peanut Butter Conspiracy,
The Fugs,
Barclay James Harvest,
Strawberry Alarm Clock,
Erasure,
Masters at Work,
Lower 48,
Agent Orange,
Gang Gang Dance,
Aloha Tigers,
Panda Bear,
Spandau Ballet,
Pharoah Sanders,
Peter Gordon & Love of Life Orchestra,
The Dave Clark Five,
ABC,
Pete Rock & C.L. Smooth,
Television,
The Red Krayola,
The Vogues,
Chrome,
Agitation Free,
Zapp,
Morten Harket,
Eli Mardock,
The Blackbyrds,
Soft Machine,
In Retrospect,
Gang of Four,
Larry & the Blue Notes,
The Victims,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.