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 Kyrgyzstan and from Philadelphia.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Beijing and Portland.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Terrestrial Tones to the jazz kids.
I played it at the Troubador.
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 Danielle Patucci. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Depeche Mode 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Dave Clark Five record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
One Last Wish,
Drexciya,
Sparks,
Crime,
Eurythmics,
Sun City Girls,
Aswad,
Echo & the Bunnymen,
Eve St. Jones,
The Electric Prunes,
Alice Coltrane,
Motorama,
Barbara Tucker,
The Selecter,
Urselle,
The Techniques,
Kings Of Tomorrow,
Alphaville,
Circle Jerks,
Basic Channel,
Cal Tjader,
Quantec,
Vaughan Mason & Crew,
Rhythm & Sound,
a-ha,
OOIOO,
The Royal Family And The Poor,
The Searchers,
Scratch Acid,
Slave,
B.T. Express,
The Shadows of Knight,
Rapeman,
Bootsy's Rubber Band,
The Detroit Cobras,
X-Ray Spex,
Yazoo,
Pylon,
Zapp,
JFA,
The Gladiators,
the Germs,
Severed Heads,
The Slits,
Röyhkä ja Rättö ja Lehtisalo,
Jacob Miller,
Nation of Ulysses,
Juan Atkins,
Crispian St. Peters,
Mantronix,
Hoover,
The Leaves,
The Index,
Rosa Yemen,
Audionom,
Lyres,
Sandy B,
Mars,
The Fuzztones,
Make Up,
James Chance & The Contortions,
Matthew Halsall,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.