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 Bahamas and from Milan.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Salvador and Salvador.
I'm losing my edge to the art-school Bologna 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 Donald Fagen 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 Clear Light to the crunk 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 Junior Murvin. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Lower 48,
Robert Hood,
Pet Shop Boys,
Teenage Jesus and the Jerks,
World's Most,
Hot Snakes,
James White and The Blacks,
Tears for Fears,
Tubeway Army,
Von Mondo,
Crooked Eye,
The Blues Magoos,
Nation of Ulysses,
X-101,
Fifty Foot Hose,
Clear Light,
Peter and Kerry,
Unwound,
The Gladiators,
Neu!,
Unrelated Segments,
The Invisible,
Dead Boys,
CMW,
Rhythm & Sound,
Isaac Hayes,
Angry Samoans,
Boogie Down Productions,
Can,
Fat Boys,
Brass Construction,
The Divine Comedy,
the Slits,
Sticky Fingaz feat. Raekwon,
Spoonie Gee,
La Düsseldorf,
Jacques Brel,
Buzzcocks,
Oblivians,
Bill Wells,
Piero Umiliani,
Metal Thangz,
Kenny Larkin,
Gabor Szabo,
Manfred Mann's Earth Band,
Symarip,
Lou Reed & Metallica,
The Moleskins,
Urselle,
Grauzone,
The Doors,
Adolescents,
June of 44,
Amon Düül,
David McCallum,
Eric B and Rakim,
Derrick May,
Henry Cow,
Colin Newman,
Camberwell Now,
John Cale, John Cale, John Cale, John Cale.
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.