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 Qatar 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 1969 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Delhi 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Silicon Teens to the grunge 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 Max Romeo. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
L. Decosne,
Tomorrow,
Symarip,
Zero Boys,
Crooked Eye,
Depeche Mode,
Barclay James Harvest,
FM Einheit,
the Normal,
Pete Rock & C.L. Smooth,
Heavy D & The Boyz,
Harpers Bizarre,
Selector Dub Narcotic,
Clear Light,
Barry Ungar,
Black Sheep,
Arcadia,
Derrick Morgan,
Eurythmics,
Sad Lovers and Giants,
Sunsets and Hearts,
Toni Rubio,
E-Dancer,
The Slackers,
Bobby Sherman,
Andrew Hill,
Fear,
Scan 7,
Severed Heads,
UT,
Excepter,
Jacques Brel,
A Certain Ratio,
KRS-One,
Can,
Essential Logic,
Marc Romboy vs. Booka Shade,
The Smoke,
Kas Product,
Rosa Yemen,
Johnny Osbourne,
Angry Samoans,
Magma,
Wolf Eyes,
Rites of Spring,
The Grass Roots,
Fifty Foot Hose,
Arthur Verocai,
Don Cherry,
Red Lorry Yellow Lorry,
Grey Daturas,
48th St. Collective,
The Moleskins,
Model 500,
Q and Not U,
Grauzone,
Thee Headcoats,
Fat Boys,
Oneida,
Lyres,
Shoche,
Ralphi Rosario, Ralphi Rosario, Ralphi Rosario, Ralphi Rosario.
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.