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 Ecuador and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 harpsichord 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 Rufus Thomas to the jazz 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 Qualms. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
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 The Monks record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe 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?
Steve Hackett,
Supertramp,
Camron Feat. Memphis Bleek And Beenie Seigel,
Chris & Cosey,
June of 44,
a-ha,
Faust,
The Star Department,
These Immortal Souls,
Dr. Dre and Snoop Doggy Dog,
Tommy Roe,
Basic Channel,
Negative Approach,
DeepChord presents Echospace,
Wings,
Quantec,
Robert Wyatt,
Beasts of Bourbon,
Unrelated Segments,
Sight & Sound,
Freddie Wadling,
Deadbeat,
The United States of America,
Ultimate Spinach,
Bob Dylan,
Echospace,
The Music Machine,
Fort Wilson Riot,
Eric Copeland,
Jeru the Damaja,
The Pretty Things,
DJ Sneak,
Neil Young,
Johnny Clarke,
Los Fastidios,
Tres Demented,
Motorama,
Hot Snakes,
Fad Gadget,
Talk Talk,
Sandy B,
Sad Lovers and Giants,
The Fire Engines,
Stiv Bators,
Delon & Dalcan,
Ronnie Foster,
Sun City Girls,
Radiopuhelimet,
Agent Orange,
Crispy Ambulance,
Kayak,
Super Lover Cee & Casanova Rud,
The Modern Lovers,
Bill Wells,
The Monks,
The Names,
Model 500,
Jeff Lynne,
Average White Band,
Arthur Verocai,
Eurythmics,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.