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 Jordan and from Edmonton.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Manila and Accra.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Ludus 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 Letta Mbulu. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every The Walker Brothers 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 '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
Liliput,
Black Moon,
Lakeside,
Jesper Dahlbäck,
Gichy Dan,
Roy Ayers,
Icehouse,
Crash Course in Science,
The Raincoats,
Soft Cell,
Arthur Verocai,
Johnny Osbourne,
Sun City Girls,
Alphaville,
L. Decosne,
Barry Ungar,
The Seeds,
Unrelated Segments,
Sound Behaviour,
The Fugs,
Teenage Jesus and the Jerks,
Steve Hackett,
Fifty Foot Hose,
Dead Boys,
Y Pants,
Juan Atkins,
Motorama,
John Lydon,
Accadde A,
Mary Jane Girls,
John Foxx,
Underground Resistance,
Crime,
Slick Rick,
Q65,
Nation of Ulysses,
Toni Rubio,
Judy Mowatt,
Boredoms,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Shoche,
Heaven 17,
Johnny Clarke,
ABC,
Warsaw,
E-Dancer,
Don Cherry,
Lou Reed,
Model 500,
Josef K,
The Alarm Clocks,
Fluxion,
Fad Gadget,
Lee Hazlewood,
Bobbi Humphrey,
Country Teasers,
Pharaoh Sanders and the Fire Engines,
Grey Daturas,
Radio Birdman,
MC5,
Banda Bassotti,
Carl Craig,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.