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 South Sudan and from Milan.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Lyon and Mumbai.
I'm losing my edge to the art-school Spokane 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin 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 Minnie Riperton 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 The Birthday Party. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Symarip record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Make Up,
The Walker Brothers,
Newcleus,
Juan Atkins,
Neu!,
Electric Light Orchestra,
Angry Samoans,
the Swans,
Arthur Verocai,
Eden Ahbez,
Roxette,
Audionom,
Don Cherry,
Derrick May,
Kenny Larkin,
Man Eating Sloth,
Blancmange,
The Five Americans,
EPMD,
Soft Machine,
Au Pairs,
Lucky Dragons,
DJ Style,
Unrelated Segments,
Siouxsie and the Banshees,
Harpers Bizarre,
Nils Olav,
The Pretty Things,
Peter and Kerry,
Second Layer,
Danielle Patucci,
Pylon,
Vladislav Delay,
Howard Jones,
Echospace,
Monks,
Suburban Knight,
Panda Bear,
Gang Green,
The Gories,
Cymande,
Babytalk,
Marvin Gaye,
Sound Behaviour,
World's Most,
E-Dancer,
Underground Resistance,
Maleditus Sound,
Silicon Teens,
Tom Boy,
Soul II Soul,
Icehouse,
Byron Stingily,
Rotary Connection,
K-Klass,
Gabor Szabo,
Rites of Spring,
Jerry Gold Smith,
Minny Pops,
Richard Hell and the Voidoids,
kango's stein massive, kango's stein massive, kango's stein massive, kango's stein massive.
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.