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 Albania and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Salvador.
I'm losing my edge to the art-school Hong Kong 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Sam Rivers to the jazz kids.
I played it at the Crocodile.
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 Electric Prunes. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Underground Resistance,
Buzzcocks,
Black Bananas,
Fat Boys,
Pharoah Sanders,
The Divine Comedy,
The Slackers,
The Kinks,
Ultimate Spinach,
Rites of Spring,
Max Romeo,
Marshall Jefferson,
The Black Dice,
Sam Rivers,
Pierre Henry,
Alice Coltrane,
Boogie Down Productions,
Pantaleimon,
Gregory Isaacs,
Leonard Cohen,
The Happenings,
Vladislav Delay,
Infiniti,
Electric Light Orchestra,
Throbbing Gristle,
The Vogues,
Brothers Johnson,
Avey Tare's Slasher Flicks,
The Neon Judgement,
Roy Ayers Ubiquity,
Brass Construction,
Qualms,
the Soft Cell,
Curtis Mayfield,
Teenage Jesus and the Jerks,
Radiohead,
Scan 7,
the Slits,
Kool G Rap & DJ Polo,
The Smiths,
Orchestral Manoeuvres in the Dark,
Marmalade,
Ralphi Rosario,
Joy Division,
Susan Cadogan,
Byron Stingily,
the Normal,
Crooked Eye,
Jeru the Damaja,
Soulsonic Force,
Notorious BIG live in Amsterdam,
Pantytec,
Barbara Tucker,
Cabaret Voltaire,
K-Klass,
The Chocolate Watch Band,
David Axelrod,
Television,
Delta 5,
Spandau Ballet,
The Dead C,
Sly & The Family Stone,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.