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 Dominica and from Mexico City.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Delhi and Bologna.
I'm losing my edge to the art-school Manchester 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 güiro 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 Pantaleimon to the punk 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 Sarah Menescal. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Sexual Harrassment,
Röyhkä ja Rättö ja Lehtisalo,
La Düsseldorf,
Electric Light Orchestra,
Neil Young & Crazy Horse,
The Durutti Column,
Curtis Mayfield,
The Cosmic Jokers,
Pussy Galore,
Alice Coltrane,
Jimmy McGriff,
Altered Images,
Thee Headcoats,
Ultimate Spinach,
Lonnie Liston Smith,
Drive Like Jehu,
Rotary Connection,
Crime,
Banda Bassotti,
Clear Light,
Stockholm Monsters,
Sun City Girls,
Make Up,
Terry Callier,
Suicide,
Agent Orange,
Underground Resistance,
Yaz,
Jeff Mills,
Mandrill,
Rosa Yemen,
MDC,
Bronski Beat,
Hasil Adkins,
Barry Ungar,
Sound Behaviour,
Gang of Four,
The Toasters,
Peter Gordon & Love of Life Orchestra,
Wolf Eyes,
Sonic Youth,
Kurtis Blow,
Khruangbin,
Orchestral Manoeuvres in the Dark,
Lou Reed,
Terror Squad Feat. Camron,
Sällskapet,
Ornette Coleman,
Henry Cow,
Tubeway Army,
Amon Düül II,
Mission of Burma,
Scientists,
Bluetip,
Inner City,
X-Ray Spex,
Sunsets and Hearts,
Reuben Wilson,
Graham Central Station,
The Zeros,
Wighnomy Brothers & Robag Wruhme,
Motorama,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.