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 Malta and from Spokane.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Philadelphia 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 Feelies practice in a loft in Haledon.
I was working on the sitar 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 the Association to the dance 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 Liliput. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
The Five Americans,
Make Up,
Faraquet,
Average White Band,
Eric Dolphy,
Mad Mike,
Peter and Kerry,
Jerry Gold Smith,
Alison Limerick,
Porter Ricks,
Index,
Malaria!,
Brick,
Teenage Jesus and the Jerks,
The Gladiators,
Pylon,
Sällskapet,
John Foxx,
Idris Muhammad,
Severed Heads,
Barclay James Harvest,
Crispy Ambulance,
Bob Dylan,
Fear,
Sarah Menescal,
Rosa Yemen,
Sonic Youth,
U.S. Maple,
Procol Harum,
D'Angelo,
Scan 7,
Grauzone,
Avey Tare & Kría Brekkan,
Crime,
The Sisters of Mercy,
Inner City,
Maleditus Sound,
Camberwell Now,
Ultra Naté,
China Crisis,
Leonard Cohen,
David Bowie,
The Music Machine,
Thompson Twins,
Derrick May,
Nick Fraelich,
Sugar Minott,
Flash Fearless,
Bobby Byrd,
Marc Romboy vs. Booka Shade,
Angels of Light & Akron/Family,
The Birthday Party,
Goldenarms,
Angry Samoans,
The Modern Lovers,
The Kinks,
Boogie Down Productions,
Duran Duran,
Nick Cave & The Bad Seeds,
Erykah Badu,
Barbara Tucker,
Unwound, Unwound, Unwound, Unwound.
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.