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 Grenada and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Columbus and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 oboe 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 The Flesh Eaters to the grime kids.
I played it at the Troubador.
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 Masters at Work. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
China Crisis,
The Detroit Cobras,
Yusef Lateef,
Visage,
LL Cool J,
The Birthday Party,
Ohio Players,
Slick Rick,
Althea and Donna,
The Saints,
Gil Scott-Heron & Brian Jackson,
X-101,
Kevin Saunderson,
Nirvana,
Graham Central Station,
Marc Almond,
John Coltrane,
Delon & Dalcan,
Camron Feat. Jay Z And Juelz,
Bobby Sherman,
T.S.O.L.,
Erasure,
Lou Reed & John Cale,
Pantaleimon,
Eden Ahbez,
The Chocolate Watch Band,
Technova,
Ponytail,
Gian Franco Pienzio,
Minnie Riperton,
Electric Light Orchestra,
The Tremeloes,
The Vogues,
Camberwell Now,
Gregory Isaacs,
Half Japanese,
Radiopuhelimet,
Bootsy's Rubber Band,
Panda Bear,
Lafayette Afro Rock Band,
Sly & The Family Stone,
World's Most,
Jeff Lynne,
Siouxsie and the Banshees,
The Red Krayola,
Loose Ends,
The Fire Engines,
Negative Approach,
Pantytec,
Zero Boys,
Young Marble Giants,
Cluster,
Deadbeat,
Pete Rock & C.L. Smooth,
James Chance & The Contortions,
De La Soul & Jungle Brothers,
U.S. Maple,
Parry Music,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.