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 Tuvalu and from Paris.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Cairo and Columbus.
I'm losing my edge to the art-school Beijing 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the sitar 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 Marc Almond to the electroclash 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 Marcia Griffiths. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Cecil Taylor,
AZ,
The Sound,
Slave,
T.S.O.L.,
Steve Hackett,
Procol Harum,
The Knickerbockers,
Lizzy Mercier Descloux,
Neil Young,
The Moody Blues,
Magazine,
The Pop Group,
Tres Demented,
A Flock of Seagulls,
Peter & Gordon,
F. McDonald,
The Mojo Men,
Television,
Marmalade,
Ronnie Foster,
Deadbeat,
Angry Samoans,
Dorothy Ashby,
The Men They Couldn't Hang,
Arab on Radar,
Kango’s Stein Massive,
Rod Modell,
Chris Corsano,
Rapeman,
kango's stein massive,
Fatback Band,
Zero Boys,
Matthew Bourne,
Joy Division,
Marcia Griffiths,
Pantytec,
Soul Sonic Force,
Outsiders,
Rotary Connection,
ABC,
Stereo Dub,
Schoolly D,
Yazoo,
The Cure,
Kool Moe Dee,
Eric Copeland,
Sight & Sound,
The Music Machine,
the Normal,
Thompson Twins,
Unrelated Segments,
Avey Tare,
Drive Like Jehu,
The Velvet Underground,
the Association,
London Community Gospel Choir,
Joe Finger,
Brass Construction,
The Young Rascals,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.