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 Togo and from Lagos.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Lagos.
I'm losing my edge to the art-school Hong Kong 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 rhodes 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 Popol Vuh to the funk kids.
I played it at the Spitz.
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 Slick Rick. All the underground hits.
All Dave Gahan tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Beasts of Bourbon,
Outsiders,
Joyce Sims,
The Skatalites,
Marcia Griffiths,
The Durutti Column,
Danielle Patucci,
Rufus Thomas,
The Monks,
Pharoah Sanders,
Flamin' Groovies,
Steve Hackett,
Fluxion,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kayak,
Man Eating Sloth,
T. Rex,
Flash Fearless,
Laurel Aitken,
The Names,
The Cramps,
Ken Boothe,
Harry Pussy,
Malaria!,
Infiniti,
Jacques Brel,
Roy Ayers Ubiquity,
Harpers Bizarre,
Jacob Miller,
Selector Dub Narcotic,
Marc Almond,
Ronnie Foster,
Subhumans,
Art Ensemble Of Chicago,
the Germs,
Gabor Szabo,
Traffic Nightmare,
Camouflage,
Intrusion,
Bootsy Collins,
John Lydon,
Graham Central Station,
Ice-T,
John Holt,
KRS-One,
Crooked Eye,
Orchestral Manoeuvres in the Dark,
Popol Vuh,
Notorious BIG live in Amsterdam,
Andrew Hill,
Fugazi,
Tears for Fears,
Godley & Creme,
Johnny Osbourne,
Liliput,
Johnny Clarke,
Neu!,
The Angels of Light,
The Fall,
Eddi Front,
Lakeside,
Sarah Menescal,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.