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 Malawi and from Calgary.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Copenhagen.
I'm losing my edge to the art-school Taipei 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 clarinet 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 Notorious Big And Bone Thugs to the techno 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 Slave. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every The Residents record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
The Happenings,
Nation of Ulysses,
KRS-One,
the Slits,
Goldenarms,
Bobby Sherman,
Max Romeo,
Jeff Lynne,
Strawberry Alarm Clock,
DeepChord presents Echospace,
Spandau Ballet,
Jimmy McGriff,
Teenage Jesus and the Jerks,
L. Decosne,
The Index,
Letta Mbulu,
AZ,
Q and Not U,
Todd Rundgren,
The Smoke,
Von Mondo,
Grey Daturas,
The Residents,
Rosa Yemen,
These Immortal Souls,
China Crisis,
Television Personalities,
Newcleus,
Public Image Ltd.,
Ultravox,
Pierre Henry,
The Move,
The Victims,
David Axelrod,
The Star Department,
The Zeros,
Charles Mingus,
Pharaoh Sanders and the Fire Engines,
The Dirtbombs,
Rod Modell,
Mandrill,
Subhumans,
Lizzy Mercier Descloux,
Crime,
Schoolly D,
Eric Copeland,
Anakelly,
Fad Gadget,
The American Breed,
Crooked Eye,
Slick Rick,
Fugazi,
The Divine Comedy,
Marc Almond,
Bobbi Humphrey,
The Electric Prunes,
Curtis Mayfield,
The Count Five,
Liaisons Dangereuses,
Deadbeat,
The Gories, The Gories, The Gories, The Gories.
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.