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 Uzbekistan and from Shanghai.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Cairo.
I'm losing my edge to the art-school Bremen 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Girls At Our Best! to the disco kids.
I played it at Trash.
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 Scott Walker + Sunn O))). All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Sonic Youth 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Fear,
Nils Olav,
Sex Pistols,
ABC,
The Selecter,
kango's stein massive,
Qualms,
Man Parrish,
Young Marble Giants,
Juan Atkins,
Stiv Bators,
Ossler,
Lindisfarne,
The Black Dice,
Angry Samoans,
Tom Boy,
Super Lover Cee & Casanova Rud,
Donald Byrd,
Mark Hollis,
Max Romeo,
The Skatalites,
The Sound,
The Gap Band,
The Smiths,
Fort Wilson Riot,
Davy DMX,
Crispy Ambulance,
Marc Almond,
Jimmy McGriff,
Derrick Morgan,
Althea and Donna,
Television,
Groovy Waters,
Orchestral Manoeuvres in the Dark,
Fatback Band,
The Electric Prunes,
Chrome,
Fat Boys,
X-102,
The Evens,
Pharoah Sanders,
Rufus Thomas,
Blossom Toes,
The Tremeloes,
Wings,
Selector Dub Narcotic,
The Gladiators,
Schoolly D,
Radiopuhelimet,
Slave,
New York Dolls,
The Flesh Eaters,
Public Image Ltd.,
Sällskapet,
The Red Krayola,
Freddie Wadling,
Tubeway Army,
Zapp,
Yazoo,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.