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 Taiwan and from Shanghai.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school Cairo 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 snare 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 Q65 to the punk kids.
I played it at the 40 Watt.
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 Cowsills. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Masters at Work 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Camouflage,
The Modern Lovers,
Jerry Gold Smith,
Kaleidoscope,
The Seeds,
Curtis Mayfield,
Shoche,
Cabaret Voltaire,
Spandau Ballet,
The Leaves,
Peter Gordon & Love of Life Orchestra,
Crooked Eye,
Suicide,
Chris Corsano,
The Moody Blues,
Andrew Ashong & Theo Parrish,
The Saints,
Little Man,
Tommy Roe,
Pere Ubu,
Bauhaus,
UT,
Dorothy Ashby,
Talk Talk,
The Gun Club,
Lalo Schifrin,
Black Moon,
Quantec,
DJ Style,
One Last Wish,
Yusef Lateef,
Joensuu 1685,
Groovy Waters,
Hoover,
Lower 48,
Popol Vuh,
Radiopuhelimet,
Audionom,
Gabor Szabo,
Jeff Lynne,
Cymande,
Motorama,
Moebius,
The Royal Family And The Poor,
Television,
Ultramagnetic MC's,
the Soft Cell,
Siouxsie and the Banshees,
Ajijia Myrayebe,
The Pretty Things,
Alice Coltrane,
L. Decosne,
kango's stein massive,
Quando Quango,
Archie Shepp,
Nico,
Sister Nancy,
Brothers Johnson,
Trumans Water,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.