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 Mali and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1975.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
I'm losing my edge to the art-school Edmonton 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 marimba sounds with much patience.
I was there when David Bowie 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 Zero Boys to the funk kids.
I played it at the Troubador.
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 Con Funk Shun. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
The Men They Couldn't Hang,
Pantytec,
Nation of Ulysses,
Pierre Henry,
Notorious Big And Bone Thugs,
Gary Puckett & The Union Gap,
Sun Ra Arkestra,
Spoonie Gee,
Al Stewart,
The Dead C,
The Five Americans,
Ponytail,
Man Eating Sloth,
Röyhkä ja Rättö ja Lehtisalo,
T. Rex,
Kauko Röyhkä ja Narttu,
Archie Shepp,
Lungfish,
Tears for Fears,
The Music Machine,
The Gladiators,
Dark Day,
Susan Cadogan,
Yellowson,
The Chocolate Watch Band,
Danielle Patucci,
Unrelated Segments,
Teenage Jesus and the Jerks,
Flash Fearless,
Shuggie Otis,
Monks,
Tommy Roe,
The Evens,
Pole,
Kurtis Blow,
Albert Ayler,
Sonic Youth,
Camouflage,
Technova,
Sam Rivers,
The Cowsills,
Rufus Thomas,
Magma,
Radiopuhelimet,
Q and Not U,
Eric Copeland,
Boz Scaggs,
Cluster,
Jeff Lynne,
Scott Walker,
Icehouse,
The Shadows of Knight,
Ken Boothe,
Kango’s Stein Massive,
Flipper,
Be Bop Deluxe,
Sad Lovers and Giants,
The Seeds,
Don Cherry,
The Skatalites,
Sound Behaviour,
Second Layer, Second Layer, Second Layer, Second Layer.
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.