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 Vanuatu and from Johannesburg.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Calgary.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 DNA to the dance kids.
I played it at Cafe Wha.
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 Barrington Levy. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every The Gap Band 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
The Motions,
DJ Sneak,
James Chance & The Contortions,
Susan Cadogan,
Hashim,
Soft Cell,
The Barracudas,
The Names,
The Smiths,
Bush Tetras,
Metal Thangz,
Bobby Byrd,
Blossom Toes,
Bobby Hutcherson,
Suburban Knight,
Rites of Spring,
Marine Girls,
DNA,
Gong,
Freddie Wadling,
Parry Music,
Fatback Band,
the Sonics,
Angry Samoans,
Tropical Tobacco,
Pete Rock & C.L. Smooth,
Patti Smith,
John Coltrane,
Sun Ra,
The Associates,
Index,
The Fugs,
Major Organ And The Adding Machine,
Minnie Riperton,
Mandrill,
Rufus Thomas,
Crooked Eye,
Jesper Dahlback,
Janne Schatter,
Stetsasonic,
Swans,
Thinking Fellers Union Local 282,
Jerry's Kids,
Bluetip,
The Monks,
The Jesus and Mary Chain,
Toni Rubio,
Peter & Gordon,
Lakeside,
Peter and Kerry,
Echo & the Bunnymen,
The Busters,
Neu!,
The Raincoats,
Warsaw,
Groovy Waters,
Byron Stingily,
Gil Scott Heron,
Spandau Ballet,
Quadrant,
Black Pus, Black Pus, Black Pus, Black Pus.
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.