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 Cuba and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
I'm losing my edge to the art-school Houston 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 arpeggiator 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 The Birthday Party to the jazz kids.
I played it at the Spitz.
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 Tremeloes. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Ossler 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
DeepChord presents Echospace,
Parry Music,
Theoretical Girls,
Bronski Beat,
Joyce Sims,
Prince Buster,
Wasted Youth,
The Toasters,
The Misunderstood,
The Walker Brothers,
The Chocolate Watch Band,
Ash Ra Tempel,
Intrusion,
Con Funk Shun,
Heavy D & The Boyz,
The Sisters of Mercy,
Dave Gahan,
Oppenheimer Analysis,
Nation of Ulysses,
June Days,
Michelle Simonal,
The Young Rascals,
Gastr Del Sol,
Gang Green,
Magma,
Royal Trux,
Roy Ayers,
The Doors,
The United States of America,
The Evens,
Deakin,
Sam Rivers,
Dead Boys,
Lizzy Mercier Descloux,
Inner City,
Lebanon Hanover,
Skarface,
Easy Going,
ABBA,
The Count Five,
The Angels of Light,
Sarah Menescal,
Yellowson,
Eddi Front,
Glenn Branca,
Avey Tare & Kría Brekkan,
Grey Daturas,
X-102,
Jerry Gold Smith,
Fort Wilson Riot,
Bluetip,
Angels of Light & Akron/Family,
The Gun Club,
Hasil Adkins,
James White and The Blacks,
Curtis Mayfield,
Al Stewart,
Can,
Crime,
Pete Rock & C.L. Smooth,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.