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 Italy and from Delhi.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Nico 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 Theoretical Girls. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal rock 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 a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Fifty Foot Hose,
Rapeman,
Wire,
Gong,
Terrestrial Tones,
Oblivians,
Lou Reed,
Derrick Morgan,
Siglo XX,
Ralphi Rosario,
The Vogues,
Anthony Braxton,
Popol Vuh,
FM Einheit,
Black Pus,
Eden Ahbez,
Colin Newman,
Susan Cadogan,
The Smoke,
The Slackers,
Brass Construction,
Yaz,
Faust,
Jesper Dahlbäck,
Country Teasers,
Joey Negro,
Rekid,
Masters at Work,
June of 44,
Bob Dylan,
Cybotron,
Dorothy Ashby,
Babytalk,
kango's stein massive,
Lebanon Hanover,
World's Most,
Minutemen,
Fluxion,
MC5,
The Moleskins,
Tim Buckley,
Echo & the Bunnymen,
Amon Düül,
F. McDonald,
Scott Walker,
Leonard Cohen,
The Index,
Fear,
Marine Girls,
Howard Jones,
Vainqueur,
The Monochrome Set,
Steve Hackett,
Sight & Sound,
The Dave Clark Five,
Darondo,
The Human League,
Gang of Four,
Faraquet,
Captain Beefheart & His Magic Band,
Bobbi Humphrey,
Young Marble Giants,
Pylon, Pylon, Pylon, Pylon.
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.