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 Tunisia and from Woodstock.
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 1973.
I'm losing my edge.
To all the kids in Lagos and Jakarta.
I'm losing my edge to the art-school Copenhagen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the marimba 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 Black Pus to the disco kids.
I played it at the Crocodile.
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 Heaven 17. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Al Stewart,
Mark Hollis,
Throbbing Gristle,
Matthew Bourne,
Man Eating Sloth,
Monolake,
Mr. Review,
Pharaoh Sanders and the Fire Engines,
Jesper Dahlback,
Unrelated Segments,
Saccharine Trust,
Severed Heads,
Y Pants,
Bush Tetras,
Freddie Wadling,
Nils Olav,
Gang Green,
The Jesus and Mary Chain,
The Moody Blues,
Lonnie Liston Smith,
Arab on Radar,
Michelle Simonal,
Dorothy Ashby,
Brand Nubian,
The Human League,
Judy Mowatt,
Country Joe & The Fish,
Ken Boothe,
The Move,
Kas Product,
Surgeon,
The Doobie Brothers,
Tomorrow,
Ronnie Foster,
Joyce Sims,
Deadbeat,
London Community Gospel Choir,
Justin Hinds & The Dominoes,
Jerry's Kids,
Juan Atkins,
Silicon Teens,
Camberwell Now,
David Axelrod,
Motorama,
Lalann,
Cecil Taylor,
Lalo Schifrin,
Soul Sonic Force,
Accadde A,
Slick Rick,
Junior Murvin,
Half Japanese,
Nick Cave & The Bad Seeds,
D'Angelo,
CMW,
MC5,
Frankie Knuckles,
The Electric Prunes,
The Gun Club,
The Stooges,
Ultravox,
Skarface,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.