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 Colombia and from Milan.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
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 Holger Czukay 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 Drive Like Jehu to the punk 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 Traffic Nightmare. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
The Music Machine,
Ponytail,
10cc,
The Grass Roots,
B.T. Express,
Funkadelic,
Peter Gordon & Love of Life Orchestra,
Todd Terry,
The Gladiators,
Bauhaus,
Duran Duran,
Avey Tare's Slasher Flicks,
The Walker Brothers,
Juan Atkins,
Sam Rivers,
Ultra Naté,
Matthew Halsall,
Dual Sessions,
The Seeds,
The American Breed,
Warsaw,
Bluetip,
Jacques Brel,
Rowland S Howard / Lydia Lunch,
Wolf Eyes,
Fugazi,
Jerry Gold Smith,
Arab on Radar,
Gong,
Yazoo,
Electric Prunes,
The Monks,
Outsiders,
FM Einheit,
Joe Finger,
Gang of Four,
Tom Boy,
Trumans Water,
Sex Pistols,
Kings Of Tomorrow,
Alice Coltrane,
Crash Course in Science,
Fluxion,
The Toasters,
Ultravox,
ABBA,
the Slits,
Fad Gadget,
Surgeon,
Crooked Eye,
Avey Tare & Kría Brekkan,
Rekid,
Funky Four + One,
L. Decosne,
Interpol,
Richard Hell and the Voidoids,
Alphaville,
Mars,
The Mummies,
Sun Ra Arkestra,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.