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 Lesotho and from Salvador.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Marc Almond to the funk kids.
I played it at the Astoria.
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 Mark Hollis. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum 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?
Liaisons Dangereuses,
The Detroit Cobras,
Rufus Thomas,
Drive Like Jehu,
Rekid,
The Cramps,
Matthew Halsall,
Cybotron,
The Moleskins,
10cc,
JFA,
Ajijia Myrayebe,
Johnny Clarke,
Liliput,
Parry Music,
the Swans,
Man Eating Sloth,
Shoche,
Massinfluence,
Gary Puckett & The Union Gap,
X-101,
Althea and Donna,
Sun City Girls,
Deadbeat,
Crooked Eye,
Avey Tare,
Can,
Lakeside,
The Black Dice,
Bad Manners,
Marine Girls,
Electric Prunes,
Cluster,
La Düsseldorf,
The Gories,
Eli Mardock,
Avey Tare's Slasher Flicks,
Ituana,
Subhumans,
The Move,
The Alarm Clocks,
Slave,
the Soft Cell,
Skarface,
Hardrive,
The Slits,
The Searchers,
Marc Almond,
The Young Rascals,
Robert Hood,
Ponytail,
Pete Rock & C.L. Smooth,
Outsiders,
Cal Tjader,
The Fall,
Peter Gordon & Love of Life Orchestra,
Lyres,
Stockholm Monsters,
The Flesh Eaters,
Jesper Dahlback,
Pole,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.