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 Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in London and Sao Paulo.
I'm losing my edge to the art-school Accra 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 Feelies practice in a loft in Haledon.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Jesper Dahlback to the techno kids.
I played it at CBGB's.
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 Kas Product. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Golliwogs,
H. Thieme,
Mad Mike,
The Flesh Eaters,
Skriet,
The Knickerbockers,
Kings Of Tomorrow,
Ten City,
Moby Grape,
Boredoms,
The Slits,
Alice Coltrane,
Young Marble Giants,
Pete Rock & C.L. Smooth,
Massinfluence,
Dead Boys,
June Days,
Main Source,
Rhythm & Sound,
London Community Gospel Choir,
The Walker Brothers,
Terry Callier,
Black Bananas,
Half Japanese,
Buzzcocks,
Avey Tare & Kría Brekkan,
Porter Ricks,
Sunsets and Hearts,
Crime,
Roxy Music,
Terrestrial Tones,
Sun Ra,
the Sonics,
Ice-T,
Brass Construction,
Guru Guru,
Quantec,
Bronski Beat,
The Sonics,
The Barracudas,
Jesper Dahlback,
The J.B.'s,
Barrington Levy,
EPMD,
June of 44,
In Retrospect,
Pantytec,
Scott Walker,
The Happenings,
John Cale,
Grey Daturas,
Blake Baxter,
Roxette,
Swell Maps,
The Techniques,
Tropical Tobacco,
The Blackbyrds,
Kurtis Blow,
Nik Kershaw,
Au Pairs,
Amazonics,
Schoolly D,
Freddie Wadling,
Subhumans,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.