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 Oman and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 Stockholm and Mexico City.
I'm losing my edge to the art-school Manchester 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Fire Engines to the disco 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 Bang On A Can. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every X-102 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Livin' Joy record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Masters at Work,
Kings Of Tomorrow,
Wire,
The Selecter,
Duran Duran,
Dawn Penn,
The Last Poets,
Shoche,
Panda Bear,
Liaisons Dangereuses,
Neil Young,
Gichy Dan,
Outsiders,
Neil Young & Crazy Horse,
Graham Central Station,
Selector Dub Narcotic,
Rowland S Howard / Lydia Lunch,
Animal Collective,
Monks,
John Cale,
R.M.O.,
Matthew Bourne,
Barbara Tucker,
De La Soul & Jungle Brothers,
Electric Light Orchestra,
Rotary Connection,
X-102,
Jeff Mills,
the Normal,
Nik Kershaw,
Groovy Waters,
Sunsets and Hearts,
Echo & the Bunnymen,
Spoonie Gee,
Scrapy,
The Gories,
Jesper Dahlbäck,
Roxette,
Crime,
Judy Mowatt,
Scott Walker,
Stetsasonic,
The Gladiators,
Ten City,
Eyeless In Gaza,
Section 25,
Charles Mingus,
Blancmange,
Lou Christie,
Morten Harket,
Boz Scaggs,
The Mummies,
Fad Gadget,
Kenny Larkin,
Faraquet,
Rites of Spring,
Pantytec,
Marc Almond,
Skarface,
The Smoke, The Smoke, The Smoke, The Smoke.
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.