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 Malta and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Johannesburg 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Lebanon Hanover to the grime kids.
I played it at the Hacienda.
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 Move. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Godley & Creme 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
The Blackbyrds,
The Sound,
Pagans,
David Bowie,
The Martian,
Con Funk Shun,
Severed Heads,
Deakin,
Desert Stars,
Lucky Dragons,
Beasts of Bourbon,
Teenage Jesus and the Jerks,
Moss Icon,
Half Japanese,
Hoover,
Connie Case,
Clear Light,
Lafayette Afro Rock Band,
Jesper Dahlbäck,
Model 500,
Kas Product,
Mantronix,
Darondo,
Nils Olav,
Patti Smith,
The American Breed,
Bang On A Can,
Orchestral Manoeuvres in the Dark,
The Chocolate Watch Band,
Pete Rock & C.L. Smooth,
Schoolly D,
Andrew Hill,
Röyhkä ja Rättö ja Lehtisalo,
Pantytec,
Slave,
Roy Ayers Ubiquity,
The Cosmic Jokers,
The Slits,
The Evens,
Kurtis Blow,
Michelle Simonal,
Chris Corsano,
Alice Coltrane,
Main Source,
Drive Like Jehu,
Au Pairs,
the Fania All-Stars,
Kerrie Biddell,
Sonic Youth,
David Axelrod,
Adolescents,
Khruangbin,
Chrome,
Andrew Ashong & Theo Parrish,
Marcia Griffiths,
The West Coast Pop Art Experimental Band,
Faraquet,
Letta Mbulu,
Los Fastidios,
DNA,
Janne Schatter,
Gastr Del Sol,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.