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 Mauritania and from Copenhagen.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school London 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 Vladislav Delay to the rap 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 Supertramp. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Gregory Isaacs,
Con Funk Shun,
CMW,
China Crisis,
Rosa Yemen,
Godley & Creme,
The Stooges,
Steve Hackett,
Lucky Dragons,
Pantaleimon,
Black Bananas,
The Count Five,
Gong,
Roxy Music,
Faraquet,
Janne Schatter,
Roger Hodgson,
Marine Girls,
Symarip,
The Peanut Butter Conspiracy,
Sight & Sound,
L. Decosne,
Max Romeo,
Jerry Gold Smith,
Joy Division,
The Knickerbockers,
Hasil Adkins,
Dennis Brown,
Shuggie Otis,
Ultravox,
Albert Ayler,
Negative Approach,
Hashim,
Suicide,
8 Eyed Spy,
Kango’s Stein Massive,
The Star Department,
Massinfluence,
Grauzone,
Sex Pistols,
Tears for Fears,
The Vogues,
Johnny Osbourne,
Idris Muhammad,
Sonic Youth,
the Bar-Kays,
The Seeds,
Soul II Soul,
Scratch Acid,
E-Dancer,
The Move,
Mantronix,
Black Sheep,
Amon Düül II,
Stetsasonic,
Newcleus,
the Association,
The West Coast Pop Art Experimental Band,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.