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 Madagascar and from Mexico City.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Manila 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 808 sounds with much patience.
I was there when Michael McDonald 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 Gil Scott-Heron and Jamie xx to the rock kids.
I played it at the Spitz.
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 Patti Smith. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Thee Headcoats record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sällskapet,
Model 500,
China Crisis,
The Martian,
Davy DMX,
Notorious BIG live in Amsterdam,
Byron Stingily,
Sad Lovers and Giants,
Stereo Dub,
Graham Central Station,
Lou Reed,
The Beau Brummels,
Black Moon,
Depeche Mode,
Ludus,
Big Daddy Kane,
Curtis Mayfield,
The Divine Comedy,
The Five Americans,
Eric Copeland,
The Durutti Column,
Rufus Thomas,
Absolute Body Control,
Maurizio,
Stiv Bators,
Johnny Clarke,
X-Ray Spex,
Lou Reed & John Cale,
Country Teasers,
The Invisible,
Monks,
Fugazi,
Easy Going,
Sticky Fingaz feat. Raekwon,
Sunsets and Hearts,
Crispy Ambulance,
Outsiders,
Gichy Dan,
Dead Boys,
Barry Ungar,
James Chance & The Contortions,
cv313,
The Happenings,
Ultravox,
Visionaries,LMNO, T- Love & Iriscience,
John Holt,
Glambeats Corp.,
New Age Steppers,
Reuben Wilson,
Röyhkä ja Rättö ja Lehtisalo,
Can,
CMW,
Kings Of Tomorrow,
Sugar Minott,
The Moody Blues,
The Names,
The Pop Group,
Avey Tare & Kría Brekkan,
The Modern Lovers,
The Selecter,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.