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 Qatar and from Hong Kong.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Madrid and Beijing.
I'm losing my edge to the art-school Tokyo 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 synthesizer 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 Rod Modell to the punk kids.
I played it at the Astoria.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Joensuu 1685 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Agitation Free,
The Techniques,
Echo & the Bunnymen,
Oppenheimer Analysis,
Make Up,
Sly & The Family Stone,
Jacques Brel,
Absolute Body Control,
Bang On A Can,
Sound Behaviour,
Bush Tetras,
Avey Tare,
Flipper,
Black Flag,
Kango’s Stein Massive,
Lyres,
Cymande,
Orchestral Manoeuvres in the Dark,
The Fire Engines,
Neu!,
Sun Ra,
London Community Gospel Choir,
The Tremeloes,
Pylon,
Gil Scott-Heron and Jamie xx,
Sexual Harrassment,
James White and The Blacks,
the Association,
The Chocolate Watch Band,
Banda Bassotti,
Scrapy,
The Fall,
Letta Mbulu,
Siouxsie and the Banshees,
The Saints,
MC5,
B.T. Express,
The Angels of Light,
The Toasters,
Altered Images,
The Seeds,
The Sound,
Ralphi Rosario,
Pagans,
Reagan Youth,
Public Enemy,
Khruangbin,
Eden Ahbez,
The Barracudas,
Neil Young & Crazy Horse,
Soul Sonic Force,
Pierre Henry,
Kool G Rap & DJ Polo,
Roxy Music,
Robert Hood,
Cabaret Voltaire,
Ultimate Spinach,
Jerry's Kids,
Jimmy McGriff,
Matthew Bourne,
Qualms, Qualms, Qualms, Qualms.
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.