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 Rwanda and from Shanghai.
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 1971.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Columbus 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Rhythim Is Rhythim to the techno kids.
I played it at the 40 Watt.
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 Freddie Wadling. All the underground hits.
All MDC tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Gang of Four,
Bobby Sherman,
Toni Rubio,
These Immortal Souls,
The Searchers,
The Beau Brummels,
Radiopuhelimet,
cv313,
Liliput,
The Star Department,
Notorious BIG live in Amsterdam,
Slick Rick,
Chrome,
Sonic Youth,
Man Eating Sloth,
Rites of Spring,
Fela Kuti,
the Bar-Kays,
Girls At Our Best!,
The Seeds,
X-101,
48th St. Collective,
Derrick May,
The West Coast Pop Art Experimental Band,
Eric B and Rakim,
Grauzone,
Anthony Braxton,
Bizarre Inc.,
U.S. Maple,
Matthew Halsall,
Black Bananas,
Dual Sessions,
Bronski Beat,
The J.B.'s,
Captain Beefheart & His Magic Band,
Easy Going,
Gerry Rafferty,
Young Marble Giants,
The Raincoats,
The Selecter,
Sugar Minott,
Kenny Larkin,
Roy Ayers,
Gichy Dan,
The New Christs,
The Residents,
Talk Talk,
Donald Byrd,
Sparks,
Theoretical Girls,
Visage,
Black Pus,
Little Man,
Harry Pussy,
Jeff Lynne,
Major Organ And The Adding Machine,
Brass Construction,
John Holt,
Sight & Sound,
Swans, Swans, Swans, Swans.
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.