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 Moldova and from Lagos.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Spokane.
I'm losing my edge to the art-school Houston 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Louis and Bebe Barron to the dance kids.
I played it at Cafe Wha.
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 James Chance & The Contortions. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Pierre Henry,
The Golliwogs,
Tropical Tobacco,
Sam Rivers,
Kerrie Biddell,
Eyeless In Gaza,
Chris & Cosey,
The Fire Engines,
Davy DMX,
Cameo,
Ituana,
Ralphi Rosario,
Camron Feat. Memphis Bleek And Beenie Seigel,
Guru Guru,
Man Parrish,
Shuggie Otis,
Siouxsie and the Banshees,
Fela Kuti,
Man Eating Sloth,
AZ,
The Residents,
Quadrant,
Alton Ellis,
The Cure,
The Busters,
John Coltrane,
Second Layer,
Roxette,
Tommy Roe,
Eden Ahbez,
Eric B and Rakim,
Terrestrial Tones,
Animal Collective,
Traffic Nightmare,
Wings,
The Durutti Column,
The Pop Group,
48th St. Collective,
Sight & Sound,
Franke,
U.S. Maple,
The Fall,
Porter Ricks,
Gil Scott-Heron and Jamie xx,
Jesper Dahlback,
Notorious BIG live in Amsterdam,
The Tremeloes,
Outsiders,
Gang Gang Dance,
Kerri Chandler,
Oppenheimer Analysis,
Gang Starr,
Aural Exciters,
Angels of Light & Akron/Family,
Pharaoh Sanders and the Fire Engines,
Faust,
Kings Of Tomorrow,
The Divine Comedy,
Tears for Fears,
Blake Baxter,
Girls At Our Best!,
The Searchers,
The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor.
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.