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 Andorra and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Stockholm 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 guitar 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 Bizarre Inc. to the funk kids.
I played it at the 40 Watt.
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 Louis and Bebe Barron. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Stockholm Monsters 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 '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Sällskapet,
Nirvana,
Skarface,
MDC,
Electric Prunes,
Girls At Our Best!,
Mark Hollis,
Dual Sessions,
Orchestral Manoeuvres in the Dark,
OOIOO,
Scion,
Lafayette Afro Rock Band,
Monolake,
The Misunderstood,
The American Breed,
David Bowie,
Dawn Penn,
Cal Tjader,
Bizarre Inc.,
Spoonie Gee,
Gil Scott-Heron and Jamie xx,
Major Organ And The Adding Machine,
The Fortunes,
Notorious Big And Bone Thugs,
Fear,
Reuben Wilson,
Soft Cell,
Robert Wyatt,
Joey Negro,
Andrew Ashong & Theo Parrish,
Flamin' Groovies,
the Normal,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pulsallama,
Liliput,
The Invisible,
The Sonics,
The Divine Comedy,
Janne Schatter,
Icehouse,
The Monks,
Thinking Fellers Union Local 282,
Kayak,
Sad Lovers and Giants,
Metal Thangz,
Nils Olav,
Jeff Lynne,
Traffic Nightmare,
Lucky Dragons,
Don Cherry,
Technova,
Roxette,
Red Lorry Yellow Lorry,
Quadrant,
Echo & the Bunnymen,
Das Ding,
Brass Construction,
Steve Hackett,
Sly & The Family Stone,
Smog,
Ossler,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.