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 China and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Lille.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin 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 The Smoke to the disco kids.
I played it at the Roxy.
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 UT. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every The Doors 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Arab on Radar,
Ohio Players,
Connie Case,
Joe Finger,
Ornette Coleman,
Gabor Szabo,
Iggy Pop,
Cecil Taylor,
The J.B.'s,
Prince Buster,
Notorious Big And Bone Thugs,
Lafayette Afro Rock Band,
World's Most,
Kango’s Stein Massive,
Roger Hodgson,
Reagan Youth,
cv313,
Mr. Review,
Section 25,
Lower 48,
The Birthday Party,
The Music Machine,
The Detroit Cobras,
the Bar-Kays,
The Victims,
The Men They Couldn't Hang,
Notorious BIG live in Amsterdam,
Michelle Simonal,
Joyce Sims,
China Crisis,
Half Japanese,
Jesper Dahlback,
Ajijia Myrayebe,
The Cowsills,
The Residents,
The Motions,
Nils Olav,
Monks,
The Dirtbombs,
Talk Talk,
Oneida,
The Fuzztones,
Soulsonic Force,
Tres Demented,
Hashim,
Robert Wyatt,
Albert Ayler,
Moss Icon,
Bob Dylan,
Lakeside,
Livin' Joy,
OOIOO,
Siglo XX,
John Cale,
The Names,
Nick Fraelich,
Lee Hazlewood,
Scott Walker,
Beasts of Bourbon,
Q65,
Lalann, Lalann, Lalann, Lalann.
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.