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 Belgium and from Houston.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1977.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Mexico City 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 kango's stein massive to the jazz kids.
I played it at the Troubador.
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 Bill Wells. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Newcleus,
The Chocolate Watch Band,
Pulsallama,
Neil Young & Crazy Horse,
the Slits,
Kaleidoscope,
Rahsaan Roland Kirk,
The Gladiators,
ABBA,
The Cosmic Jokers,
Tomorrow,
Kerrie Biddell,
Minor Threat,
Masters at Work,
EPMD,
Gang Starr,
Minutemen,
Make Up,
The Offenders,
Joey Negro,
Gil Scott Heron,
Gian Franco Pienzio,
The Knickerbockers,
Rowland S Howard / Lydia Lunch,
The Fuzztones,
Ultramagnetic MC's,
The Trojans,
Flamin' Groovies,
Little Man,
The Last Poets,
The Cramps,
Banda Bassotti,
Supertramp,
Stiv Bators,
This Heat,
Tres Demented,
Desert Stars,
Connie Case,
Loose Ends,
Chris & Cosey,
Lindisfarne,
Lucky Dragons,
The Monochrome Set,
Slick Rick,
Lou Reed & John Cale,
The Pop Group,
Porter Ricks,
Moss Icon,
Lonnie Liston Smith,
New York Dolls,
Robert Hood,
Kevin Saunderson,
Liliput,
Bill Near,
Rosa Yemen,
Dual Sessions,
Panda Bear,
Depeche Mode,
Orchestral Manoeuvres in the Dark,
Sunsets and Hearts,
The Busters,
Alison Limerick,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.