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 Guinea-Bissau and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1972.
I'm losing my edge.
To all the kids in Mumbai and Sao Paulo.
I'm losing my edge to the art-school Accra 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Sad Lovers and Giants to the jazz 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 Bobby Hutcherson. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Little Man 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
The Knickerbockers,
Sarah Menescal,
The Wake,
One Last Wish,
June of 44,
Audionom,
Robert Hood,
Cybotron,
Saccharine Trust,
Echospace,
Vladislav Delay,
Mo-Dettes,
Tommy Roe,
The Motions,
Robert Görl,
Howard Jones,
Michelle Simonal,
This Heat,
Gregory Isaacs,
Brick,
Circle Jerks,
The Kinks,
The Monochrome Set,
Lightning Bolt,
Severed Heads,
Little Man,
The Fall,
8 Eyed Spy,
John Cale,
Marmalade,
Kayak,
Ice-T,
Marshall Jefferson,
Monolake,
Heaven 17,
Section 25,
Reuben Wilson,
Fatback Band,
Swell Maps,
Suburban Knight,
Derrick Morgan,
The Birthday Party,
Bad Manners,
La Düsseldorf,
Thompson Twins,
Angry Samoans,
The Dave Clark Five,
The Count Five,
Major Organ And The Adding Machine,
Babytalk,
Bill Wells,
Electric Prunes,
Rod Modell,
John Foxx,
Colin Newman,
10cc,
Toni Rubio,
Radiohead,
Vainqueur,
Monks,
Matthew Bourne,
Aswad,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.