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 Peru and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Houston and Beijing.
I'm losing my edge to the art-school Shanghai 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Sad Lovers and Giants to the funk kids.
I played it at the Astoria.
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 Brick. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every The Detroit Cobras 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Marc Almond,
Chris Corsano,
Matthew Bourne,
Hardrive,
Gichy Dan,
Robert Wyatt,
The Dead C,
cv313,
Quantec,
Lou Reed & Metallica,
Symarip,
New York Dolls,
Kerrie Biddell,
Althea and Donna,
Aural Exciters,
Eurythmics,
Bang On A Can,
It's A Beautiful Day,
Drive Like Jehu,
Black Pus,
The Gun Club,
Simply Red,
Big Daddy Kane,
Bronski Beat,
Main Source,
48th St. Collective,
David McCallum,
Negative Approach,
Public Image Ltd.,
Colin Newman,
The Tremeloes,
Faust,
The United States of America,
Tres Demented,
Kauko Röyhkä ja Narttu,
Art Ensemble Of Chicago,
Television Personalities,
Pharoah Sanders,
Kings Of Tomorrow,
Tim Buckley,
Ten City,
Eric Copeland,
Sly & The Family Stone,
Radiopuhelimet,
Bob Dylan,
Altered Images,
John Foxx,
Mark Hollis,
Carl Craig,
kango's stein massive,
Bobby Sherman,
the Swans,
Public Enemy,
Minutemen,
a-ha,
Fela Kuti,
Rhythm & Sound,
Minnie Riperton,
Echo & the Bunnymen,
Icehouse,
Gang of Four,
Neu!,
Flipper, Flipper, Flipper, Flipper.
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.