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 Mozambique and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school Cairo 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 spring reverb 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 Stockholm Monsters to the electroclash 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 Sad Lovers and Giants. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Radiopuhelimet record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
The Doors,
Unwound,
Fugazi,
The Alarm Clocks,
Hasil Adkins,
Avey Tare & Kría Brekkan,
The Gun Club,
Avey Tare's Slasher Flicks,
Kerrie Biddell,
Bootsy's Rubber Band,
the Normal,
Ajijia Myrayebe,
Pete Rock & C.L. Smooth,
Jandek,
Au Pairs,
The Trojans,
Juan Atkins,
Swell Maps,
The Modern Lovers,
Albert Ayler,
The J.B.'s,
The Kinks,
Mandrill,
The Victims,
Dennis Brown,
Lalann,
Roy Ayers Ubiquity,
Siouxsie and the Banshees,
Pharaoh Sanders and the Fire Engines,
Sad Lovers and Giants,
The Doobie Brothers,
The Sonics,
Andrew Ashong & Theo Parrish,
Vladislav Delay,
The Selecter,
The Moody Blues,
Harry Pussy,
Camouflage,
Fear,
The Mummies,
Yellowson,
Gil Scott Heron,
Blancmange,
Audionom,
Bill Near,
The Electric Prunes,
Derrick May,
Intrusion,
Sunsets and Hearts,
Roy Ayers,
Junior Murvin,
Radiopuhelimet,
Gian Franco Pienzio,
Lightning Bolt,
Lyres,
Sun Ra,
Nick Cave & The Bad Seeds,
Funky Four + One,
The Names,
The Shadows of Knight,
The Gap Band,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.