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 Slovakia and from Cairo.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
I'm losing my edge to the art-school Halifax 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Roxette to the jazz kids.
I played it at the Spitz.
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 Crispy Ambulance. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Au Pairs record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Public Image Ltd.,
Gian Franco Pienzio,
Ultravox,
Avey Tare's Slasher Flicks,
Quando Quango,
Jacques Brel,
Loose Ends,
Henry Cow,
Ken Boothe,
Roxy Music,
Marvin Gaye,
Pet Shop Boys,
Rakim,
Intrusion,
Fort Wilson Riot,
Eric Copeland,
Bobby Sherman,
Stereo Dub,
Simply Red,
Terror Squad Feat. Camron,
Captain Beefheart & His Magic Band,
A Certain Ratio,
Cameo,
Rufus Thomas,
Nico,
The Smiths,
Spandau Ballet,
Fad Gadget,
Zero Boys,
Kayak,
Jeff Lynne,
Roxette,
Crispian St. Peters,
Suburban Knight,
Freddie Wadling,
PIL,
Bootsy Collins,
Barrington Levy,
Toni Rubio,
Terry Callier,
Franke,
Matthew Halsall,
Mandrill,
B.T. Express,
Supertramp,
Bang on a Can All-Stars,
Cabaret Voltaire,
Rowland S Howard / Lydia Lunch,
R.M.O.,
Robert Hood,
Black Flag,
Fifty Foot Hose,
Lindisfarne,
Scan 7,
The Velvet Underground,
Echospace,
Arcadia,
The West Coast Pop Art Experimental Band,
Siglo XX,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.