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 Andorra and from Lyon.
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 1968 to 1970.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Stockholm 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 at the first Suicide practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Average White Band to the punk kids.
I played it at the Astoria.
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 Happenings. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every The Dave Clark Five 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Pierre Henry,
Average White Band,
Lizzy Mercier Descloux,
Fort Wilson Riot,
X-101,
the Association,
the Soft Cell,
FM Einheit,
Sun City Girls,
Grandmaster Flash,
B.T. Express,
Joe Smooth,
Supertramp,
the Human League,
The Chocolate Watch Band,
Brick,
Young Marble Giants,
Lafayette Afro Rock Band,
The Selecter,
Bauhaus,
Barclay James Harvest,
Darondo,
Hoover,
Arcadia,
Oppenheimer Analysis,
Procol Harum,
Bill Near,
Eurythmics,
Eddi Front,
CMW,
Newcleus,
Moby Grape,
Gang of Four,
The Smoke,
Peter Gordon & Love of Life Orchestra,
U.S. Maple,
Derrick May,
The Alarm Clocks,
The Fall,
Barbara Tucker,
Jeru the Damaja,
KRS-One,
Popol Vuh,
Lou Christie,
Rod Modell,
Scrapy,
Adolescents,
Index,
Dawn Penn,
Piero Umiliani,
The American Breed,
Nils Olav,
Fat Boys,
Glenn Branca,
Jeff Lynne,
Nation of Ulysses,
Bobby Womack,
Roxette,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.