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 Uruguay and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Seoul 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb 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 The Modern Lovers to the rap kids.
I played it at the Hacienda.
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 The Knickerbockers. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
The Gun Club,
Lou Reed & Metallica,
Lou Christie,
The Saints,
Royal Trux,
The Index,
Flash Fearless,
Stereo Dub,
Notorious Big And Bone Thugs,
Rahsaan Roland Kirk,
Masters at Work,
PIL,
Ten City,
the Fania All-Stars,
The Slackers,
Model 500,
Todd Rundgren,
Das Ding,
Camberwell Now,
Los Fastidios,
Eyeless In Gaza,
Ice-T,
Suburban Knight,
Fluxion,
The Velvet Underground,
The Cowsills,
Black Pus,
the Normal,
Black Moon,
Camouflage,
Grandmaster Flash and the Furious Five,
Louis and Bebe Barron,
the Human League,
Bill Wells,
The Last Poets,
Ken Boothe,
Cameo,
Chris Corsano,
The Five Americans,
Röyhkä ja Rättö ja Lehtisalo,
Section 25,
Radiohead,
Amon Düül,
The Skatalites,
Roger Hodgson,
Scientists,
Maleditus Sound,
Terrestrial Tones,
Scott Walker,
Urselle,
Amazonics,
The Shadows of Knight,
Banda Bassotti,
The Fall,
The Victims,
Erasure,
The Litter,
Steve Hackett,
The Detroit Cobras,
Neil Young, Neil Young, Neil Young, Neil Young.
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.