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 Syria and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Seoul and Copenhagen.
I'm losing my edge to the art-school Lagos 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 organ 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 Thee Headcoats to the dance 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 Peter and Kerry. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every The United States of America 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Delta 5 record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Deadbeat,
Charles Mingus,
Yaz,
Isaac Hayes,
Rapeman,
Lightning Bolt,
New Age Steppers,
The Vogues,
Cecil Taylor,
The Remains,
Eli Mardock,
The Index,
Ludus,
T. Rex,
La Düsseldorf,
Popol Vuh,
Procol Harum,
The Modern Lovers,
Anthony Braxton,
Sällskapet,
The Dave Clark Five,
Agent Orange,
The West Coast Pop Art Experimental Band,
Sad Lovers and Giants,
Bobby Byrd,
The Motions,
The Last Poets,
Scan 7,
Goldenarms,
Hardrive,
Gong,
London Community Gospel Choir,
Grandmaster Flash,
X-101,
Gang of Four,
MDC,
Neil Young,
Bang On A Can,
The Move,
The Mummies,
Sight & Sound,
Sun City Girls,
Q and Not U,
Barbara Tucker,
Strawberry Alarm Clock,
Bobby Hutcherson,
Tres Demented,
Magazine,
The Pop Group,
Hasil Adkins,
Pylon,
Jacques Brel,
Symarip,
Harry Pussy,
Soft Cell,
Toni Rubio,
Accadde A,
Wire,
Flipper,
The Angels of Light,
The Victims, The Victims, The Victims, The Victims.
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.