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 Belgium and from Seoul.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Beijing.
I'm losing my edge to the art-school Beijing 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 David Axelrod to the jazz 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 Cosmic Jokers. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Hasil Adkins,
Black Flag,
Sparks,
Max Romeo,
Soft Cell,
Siglo XX,
Massinfluence,
X-102,
Stiv Bators,
Kerri Chandler,
Bronski Beat,
Kango’s Stein Massive,
Sam Rivers,
The Cowsills,
Blake Baxter,
Cluster,
Oneida,
Major Organ And The Adding Machine,
The Misunderstood,
Cybotron,
Magma,
The Index,
Rekid,
Susan Cadogan,
Cabaret Voltaire,
Soulsonic Force,
The Zeros,
Absolute Body Control,
Funkadelic,
Yusef Lateef,
Subhumans,
48th St. Collective,
Amazonics,
The Mummies,
Leonard Cohen,
James White and The Blacks,
Danielle Patucci,
The Smiths,
Main Source,
Pole,
The Gladiators,
Kings Of Tomorrow,
Symarip,
Essential Logic,
Ice-T,
Slave,
Stockholm Monsters,
Half Japanese,
Marine Girls,
Gastr Del Sol,
Lebanon Hanover,
Man Parrish,
Monolake,
FM Einheit,
Slick Rick,
Vaughan Mason & Crew,
The Real Kids,
Stereo Dub,
Outsiders,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.