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 Andorra and from Stockholm.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Taipei and Milan.
I'm losing my edge to the art-school Bologna 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb 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 Niagra to the grime 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 Brass Construction. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Electric Prunes,
Excepter,
Byron Stingily,
Leonard Cohen,
Rapeman,
Brothers Johnson,
Peter & Gordon,
Fat Boys,
Model 500,
Wire,
The Alarm Clocks,
The Red Krayola,
Danielle Patucci,
Stiv Bators,
Aswad,
Eden Ahbez,
Camron Feat. Jay Z And Juelz,
The Monks,
Khruangbin,
Magazine,
The Pop Group,
Kango’s Stein Massive,
Colin Newman,
Siglo XX,
Derrick May,
The Beau Brummels,
Oppenheimer Analysis,
Sex Pistols,
The Searchers,
Archie Shepp,
Toni Rubio,
Mo-Dettes,
Thompson Twins,
Big Daddy Kane,
Pierre Henry,
Organ,
Fear,
Reuben Wilson,
the Association,
Janne Schatter,
The Associates,
Bobby Sherman,
Nick Cave & The Bad Seeds,
Dorothy Ashby,
Joy Division,
The Dirtbombs,
The Raincoats,
Kauko Röyhkä ja Narttu,
Kerri Chandler,
MDC,
Unrelated Segments,
Jandek,
The Move,
Hot Snakes,
The Music Machine,
Sad Lovers and Giants,
Kerrie Biddell,
Howard Jones,
The Golliwogs,
Jerry's Kids,
Brand Nubian,
Dave Gahan,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.