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 Equatorial Guinea and from Glasgow.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Tehran 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 Altered Images to the disco kids.
I played it at the Hacienda.
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 Jimmy McGriff. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Procol Harum,
Judy Mowatt,
MDC,
Warsaw,
Siouxsie and the Banshees,
Traffic Nightmare,
The J.B.'s,
Peter & Gordon,
Roger Hodgson,
The Shadows of Knight,
Index,
Angels of Light & Akron/Family,
Flamin' Groovies,
Ultravox,
Agent Orange,
Michelle Simonal,
Interpol,
Electric Prunes,
Juan Atkins,
The Buckinghams,
Terrestrial Tones,
Jeff Mills,
Glambeats Corp.,
The Neon Judgement,
Pierre Henry,
New Order,
Godley & Creme,
Nick Fraelich,
Mantronix,
ABC,
Heavy D & The Boyz,
The Slackers,
Rufus Thomas,
Sparks,
Sun Ra Arkestra,
Pagans,
Lou Christie,
Pharaoh Sanders and the Fire Engines,
Funky Four + One,
The Jesus and Mary Chain,
Mission of Burma,
Ituana,
Black Bananas,
Bronski Beat,
Peter and Kerry,
Beasts of Bourbon,
Neil Young & Crazy Horse,
Yusef Lateef,
D'Angelo,
Liliput,
New Age Steppers,
The Move,
Unrelated Segments,
Gichy Dan,
Marine Girls,
Delon & Dalcan,
Vaughan Mason & Crew,
Wire,
Kurtis Blow,
Half Japanese,
Japan,
Kevin Saunderson,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.