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 Dominican Republic and from Johannesburg.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Bremen 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 theremin 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 Joey Negro 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 Spandau Ballet. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every The Doors 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Tim Buckley,
Faust,
Visage,
Scion,
Orchestral Manoeuvres in the Dark,
Jerry's Kids,
Yazoo,
Cecil Taylor,
Spoonie Gee,
The Happenings,
Bill Near,
Gichy Dan,
Agitation Free,
Echo & the Bunnymen,
X-101,
John Foxx,
Crime,
Blancmange,
Kauko Röyhkä ja Narttu,
The Standells,
Ash Ra Tempel,
June of 44,
Bush Tetras,
Pierre Henry,
Grey Daturas,
Brand Nubian,
Eurythmics,
Gil Scott-Heron and Jamie xx,
Liaisons Dangereuses,
Major Organ And The Adding Machine,
Pagans,
Fat Boys,
The Pop Group,
Man Eating Sloth,
Colin Newman,
Oneida,
The Seeds,
Jacques Brel,
The Knickerbockers,
FM Einheit,
The Fuzztones,
Intrusion,
Heaven 17,
The Buckinghams,
Absolute Body Control,
Kaleidoscope,
The Detroit Cobras,
Wire,
Tom Boy,
the Human League,
The Move,
Susan Cadogan,
Ralphi Rosario,
Mad Mike,
Louis and Bebe Barron,
Arthur Verocai,
Wolf Eyes,
The Raincoats,
Goldenarms, Goldenarms, Goldenarms, Goldenarms.
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.