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 Rwanda and from Seoul.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1974.
I'm losing my edge.
To all the kids in New York and Delhi.
I'm losing my edge to the art-school Shanghai 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 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 Neu! to the crunk kids.
I played it at the Crocodile.
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 Tommy Roe. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
a-ha,
Flipper,
Ponytail,
The Cure,
Howard Jones,
Tom Boy,
Glambeats Corp.,
Steve Hackett,
The Seeds,
Talk Talk,
Strawberry Alarm Clock,
Deutsch Amerikanische Freundschaft,
Reagan Youth,
Model 500,
Soulsonic Force,
The Techniques,
Agent Orange,
Lou Reed,
The Detroit Cobras,
Erykah Badu,
Rahsaan Roland Kirk,
Ronan,
Justin Hinds & The Dominoes,
Charles Mingus,
Public Image Ltd.,
Derrick Morgan,
Pere Ubu,
Yusef Lateef,
Ultravox,
Todd Rundgren,
Faraquet,
Quadrant,
The Gladiators,
The Five Americans,
June Days,
Radiopuhelimet,
Lindisfarne,
Henry Cow,
Jeff Lynne,
Radiohead,
Ludus,
The Shadows of Knight,
Amon Düül II,
Babytalk,
Rakim,
Severed Heads,
Pantytec,
Toni Rubio,
Notorious Big And Bone Thugs,
Colin Newman,
Graham Central Station,
Terrestrial Tones,
The Pop Group,
The Red Krayola,
Camouflage,
D'Angelo,
Sarah Menescal,
Mo-Dettes,
Art Ensemble Of Chicago,
Godley & Creme,
Kauko Röyhkä ja Narttu,
Ornette Coleman,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.