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 Israel and from Philadelphia.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1962 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Halifax 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Wings to the rap 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 The Men They Couldn't Hang. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Animal Collective 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb 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 linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Josef K,
Half Japanese,
Byron Stingily,
Don Cherry,
Angels of Light & Akron/Family,
The Monks,
The Divine Comedy,
Flamin' Groovies,
Masters at Work,
Siglo XX,
Lou Reed & John Cale,
Röyhkä ja Rättö ja Lehtisalo,
The Moleskins,
Hasil Adkins,
The Knickerbockers,
Agitation Free,
The Sound,
Lou Christie,
The Happenings,
These Immortal Souls,
Marshall Jefferson,
Kango’s Stein Massive,
Index,
Pierre Henry,
Ornette Coleman,
ABBA,
Rhythim Is Rhythim,
Silicon Teens,
The Cowsills,
Thinking Fellers Union Local 282,
DeepChord presents Echospace,
Talk Talk,
Erasure,
Grandmaster Flash and the Furious Five,
The Monochrome Set,
Joensuu 1685,
Fluxion,
Gerry Rafferty,
The Doors,
Kaleidoscope,
Underground Resistance,
The New Christs,
ABC,
Barbara Tucker,
Black Flag,
Morten Harket,
K-Klass,
Mission of Burma,
Pulsallama,
This Heat,
The Last Poets,
Isaac Hayes,
Young Marble Giants,
Mr. Review,
Larry & the Blue Notes,
The Stooges,
Moebius,
Monks,
Public Enemy,
Glenn Branca,
John Lydon, John Lydon, John Lydon, John Lydon.
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.