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 San Marino and from London.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Mumbai.
I'm losing my edge to the art-school Mumbai 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the guitar sounds with much patience.
I was there when David Bowie 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 The Music Machine to the punk kids.
I played it at CBGB's.
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 Alphaville. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Eric Dolphy,
Todd Rundgren,
Tommy Roe,
Teenage Jesus and the Jerks,
Cabaret Voltaire,
X-101,
Rowland S Howard / Lydia Lunch,
Fugazi,
The Wake,
Strawberry Alarm Clock,
Godley & Creme,
The Tremeloes,
Jawbox,
Cymande,
The Jesus and Mary Chain,
Bobby Womack,
Liaisons Dangereuses,
Oppenheimer Analysis,
James Chance & The Contortions,
Ossler,
Pharoah Sanders,
Tropical Tobacco,
the Germs,
Lindisfarne,
Gregory Isaacs,
Ornette Coleman,
Peter and Kerry,
Jerry Gold Smith,
Eve St. Jones,
Electric Light Orchestra,
Section 25,
Echo & the Bunnymen,
Ultra Naté,
Pet Shop Boys,
Los Fastidios,
Roger Hodgson,
John Lydon,
Royal Trux,
Ituana,
the Association,
Altered Images,
Pole,
cv313,
Minnie Riperton,
Tears for Fears,
a-ha,
Amon Düül,
Grey Daturas,
The Durutti Column,
June of 44,
Sight & Sound,
Nirvana,
The Dave Clark Five,
Saccharine Trust,
Sound Behaviour,
The Smoke,
Johnny Osbourne,
The Remains,
Joey Negro,
Stetsasonic,
Erasure,
MC5, MC5, MC5, MC5.
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.