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 Ivory Coast and from Sao Paulo.
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 1970.
I'm losing my edge.
To all the kids in Houston and New York.
I'm losing my edge to the art-school Lyon 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Bad Manners to the dance kids.
I played it at the Roxy.
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 Byron Stingily. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every The Cramps 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your sitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Unrelated Segments,
the Soft Cell,
Ash Ra Tempel,
U.S. Maple,
Deepchord,
Adolescents,
The Fugs,
Radiopuhelimet,
Hardrive,
The Knickerbockers,
The Victims,
These Immortal Souls,
Don Cherry,
Visionaries,LMNO, T- Love & Iriscience,
Avey Tare,
Pagans,
Kenny Larkin,
Flamin' Groovies,
Lungfish,
PIL,
Minnie Riperton,
Wolf Eyes,
Alison Limerick,
The Gladiators,
Deadbeat,
Angels of Light & Akron/Family,
Dennis Brown,
Bauhaus,
Electric Prunes,
The Doobie Brothers,
Infiniti,
Lou Christie,
Banda Bassotti,
Ludus,
Orchestral Manoeuvres in the Dark,
JFA,
Khruangbin,
Organ,
Bobby Hutcherson,
Section 25,
The Star Department,
Eyeless In Gaza,
London Community Gospel Choir,
Joy Division,
F. McDonald,
The Flesh Eaters,
Kings Of Tomorrow,
The Monks,
Black Sheep,
Aural Exciters,
John Foxx,
Blossom Toes,
Matthew Bourne,
Pere Ubu,
Yaz,
Spandau Ballet,
Kevin Saunderson,
Rosa Yemen,
The Mojo Men,
The Move,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.