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 Comoros and from Milan.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Cairo and Shanghai.
I'm losing my edge to the art-school Glasgow 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 Human League practice in a loft in Sheffield.
I was working on the rhodes 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 Jacob Miller to the crunk kids.
I played it at Trash.
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 Loose Ends. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Suicide 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 '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Sun Ra,
Piero Umiliani,
Freddie Wadling,
The Martian,
Vaughan Mason & Crew,
The Electric Prunes,
Sight & Sound,
Beasts of Bourbon,
The Fortunes,
Rowland S Howard / Lydia Lunch,
The Doobie Brothers,
Big Daddy Kane,
Nik Kershaw,
Gil Scott-Heron & Brian Jackson,
The Knickerbockers,
Matthew Bourne,
Sun Ra Arkestra,
Heavy D & The Boyz,
Sandy B,
Red Lorry Yellow Lorry,
Ralphi Rosario,
Gichy Dan,
Bronski Beat,
Skriet,
Desert Stars,
Gerry Rafferty,
Radiopuhelimet,
Althea and Donna,
Pharoah Sanders,
Altered Images,
Swans,
Scott Walker,
The Saints,
Pere Ubu,
Tim Buckley,
Ossler,
Joe Finger,
Swell Maps,
John Coltrane,
Grauzone,
Magazine,
Susan Cadogan,
Gian Franco Pienzio,
Country Joe & The Fish,
Oblivians,
Liliput,
Funkadelic,
Sly & The Family Stone,
Talk Talk,
Harmonia,
Slick Rick,
Lou Christie,
Kenny Larkin,
Subhumans,
Sunsets and Hearts,
Brand Nubian,
Country Teasers,
Johnny Osbourne,
Trumans Water,
Second Layer,
The Sonics,
Flash Fearless,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.