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 Czech Republic and from Salvador.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Edmonton and Glasgow.
I'm losing my edge to the art-school Salvador 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 Holger Czukay 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 Spandau Ballet to the dance 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 Connie Case. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Moss Icon 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Be Bop Deluxe,
Ultramagnetic MC's,
Fear,
Man Parrish,
Sly & The Family Stone,
Soul II Soul,
The Mojo Men,
Alphaville,
Dead Boys,
Kenny Larkin,
8 Eyed Spy,
Unwound,
The New Christs,
Animal Collective,
The Doobie Brothers,
Brass Construction,
OOIOO,
Rekid,
Max Romeo,
Wally Richardson,
Gabor Szabo,
Heavy D & The Boyz,
L. Decosne,
Blake Baxter,
Blossom Toes,
The Zeros,
Yazoo,
Jesper Dahlback,
Alton Ellis,
Howard Jones,
Joe Smooth,
Bill Wells,
Jeff Mills,
Bobby Womack,
Man Eating Sloth,
The Happenings,
Pere Ubu,
Smog,
Das Ding,
Cal Tjader,
The Slackers,
Charles Mingus,
Freddie Wadling,
Barrington Levy,
Neu!,
U.S. Maple,
Ossler,
Wolf Eyes,
The Fortunes,
Graham Central Station,
Sad Lovers and Giants,
Roger Hodgson,
The Busters,
Swans,
Jesper Dahlbäck,
Rhythm & Sound,
Michelle Simonal,
Fluxion,
Gichy Dan,
Kevin Saunderson,
Bizarre Inc.,
Sound Behaviour,
The Cramps, The Cramps, The Cramps, The Cramps.
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.