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 Qatar and from Shanghai.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Taipei and Paris.
I'm losing my edge to the art-school Beijing 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 The Walker Brothers to the disco 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 Trumans Water. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Bootsy Collins,
David McCallum,
Outsiders,
Moebius,
The Cure,
LL Cool J,
the Human League,
Alison Limerick,
Big Daddy Kane,
New Order,
Excepter,
The Offenders,
Scratch Acid,
Bootsy's Rubber Band,
Reuben Wilson,
Boogie Down Productions,
Vladislav Delay,
Radiopuhelimet,
Marc Romboy vs. Booka Shade,
Althea and Donna,
Goldenarms,
The Star Department,
Inner City,
F. McDonald,
Neu!,
Rites of Spring,
The Blues Magoos,
Flipper,
Jeru the Damaja,
Y Pants,
Gary Puckett & The Union Gap,
Scott Walker + Sunn O))),
Black Moon,
Silicon Teens,
Moby Grape,
Robert Görl,
Pantaleimon,
The Velvet Underground,
June of 44,
Captain Beefheart & His Magic Band,
Bobby Hutcherson,
Scientists,
Oblivians,
Tropical Tobacco,
London Community Gospel Choir,
Jeff Lynne,
The Red Krayola,
Joe Smooth,
Spoonie Gee,
Slick Rick,
The Mummies,
Godley & Creme,
Kool G Rap & DJ Polo,
Susan Cadogan,
Bang on a Can All-Stars,
Ponytail,
R.M.O.,
The Cramps,
Thee Headcoats,
The Litter,
The Names,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.