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 Dominica and from Lagos.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
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 Lalo Schifrin to the grime 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 the Slits. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Model 500,
MC5,
Rhythim Is Rhythim,
Archie Shepp,
Camron Feat. Memphis Bleek And Beenie Seigel,
Popol Vuh,
Gerry Rafferty,
Funkadelic,
Porter Ricks,
Stereo Dub,
Beasts of Bourbon,
The Red Krayola,
David Axelrod,
U.S. Maple,
The Royal Family And The Poor,
Sam Rivers,
Joyce Sims,
Idris Muhammad,
Bang On A Can,
Roy Ayers Ubiquity,
Brass Construction,
The Dirtbombs,
Sun City Girls,
Lizzy Mercier Descloux,
The Tremeloes,
Chris Corsano,
Grandmaster Flash,
Peter & Gordon,
A Certain Ratio,
Bobbi Humphrey,
The Music Machine,
Aural Exciters,
Juan Atkins,
the Fania All-Stars,
Swans,
Au Pairs,
Throbbing Gristle,
Urselle,
Super Lover Cee & Casanova Rud,
K-Klass,
Gil Scott-Heron and Jamie xx,
Prince Buster,
Aloha Tigers,
Thee Headcoats,
Wire,
The Mojo Men,
Sonny Sharrock,
The Beau Brummels,
Lou Reed,
Susan Cadogan,
Mo-Dettes,
The Invisible,
Matthew Halsall,
Nick Fraelich,
Siglo XX,
Shoche,
The Mummies,
Supertramp,
Pulsallama,
Section 25,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.