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 Guyana and from Stockholm.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Spokane and Milan.
I'm losing my edge to the art-school Portland 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 Art of Noise practice in a loft in London.
I was working on the synthesizer 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 ABC to the crunk kids.
I played it at the Spitz.
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 Terrestrial Tones. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Dorothy Ashby,
The Durutti Column,
Model 500,
Public Image Ltd.,
K-Klass,
Minutemen,
Con Funk Shun,
Technova,
The Modern Lovers,
Malaria!,
Harmonia,
Shuggie Otis,
Graham Central Station,
Dawn Penn,
The Names,
Hot Snakes,
Popol Vuh,
Gary Puckett & The Union Gap,
Visage,
Interpol,
Dead Boys,
Television,
FM Einheit,
The Martian,
Lou Reed,
Red Lorry Yellow Lorry,
Joensuu 1685,
Scan 7,
Cymande,
Jesper Dahlback,
Yazoo,
The New Christs,
Pantaleimon,
Arthur Verocai,
Symarip,
Ajijia Myrayebe,
Derrick Morgan,
The Divine Comedy,
World's Most,
Echo & the Bunnymen,
Erykah Badu,
The Blues Magoos,
The Move,
Yellowson,
Selector Dub Narcotic,
Audionom,
Q and Not U,
Pylon,
Toni Rubio,
Mars,
Simply Red,
Rufus Thomas,
Radiopuhelimet,
Kool G Rap & DJ Polo,
Marshall Jefferson,
The Birthday Party,
The Vogues,
Cluster,
Underground Resistance,
Warren Ellis,
The Index,
the Human League,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.