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 Accra.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 Red Lorry Yellow Lorry to the disco kids.
I played it at Trash.
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 Bad Manners. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every the Soft Cell 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Funkadelic,
The Martian,
The Busters,
Oneida,
Kevin Saunderson,
Wighnomy Brothers & Robag Wruhme,
Silicon Teens,
Robert Görl,
Aaron Thompson,
F. McDonald,
Kenny Larkin,
Kurtis Blow,
Duran Duran,
The Modern Lovers,
Jeff Lynne,
Ultramagnetic MC's,
The Blues Magoos,
48th St. Collective,
James Chance & The Contortions,
Brick,
Röyhkä ja Rättö ja Lehtisalo,
Pylon,
Echospace,
Rakim,
Sun Ra,
Half Japanese,
In Retrospect,
L. Decosne,
Pierre Henry,
Man Eating Sloth,
Robert Hood,
Barrington Levy,
Sonic Youth,
Dennis Brown,
Arcadia,
Roy Ayers,
Soul II Soul,
Danielle Patucci,
Skriet,
Todd Rundgren,
Rosa Yemen,
Gichy Dan,
Eric B and Rakim,
Chris & Cosey,
Mr. Review,
Gang of Four,
Manfred Mann's Earth Band,
It's A Beautiful Day,
Underground Resistance,
Stockholm Monsters,
Pagans,
Josef K,
Rowland S Howard / Lydia Lunch,
The Chocolate Watch Band,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Be Bop Deluxe,
Dead Boys,
The Standells,
Aural Exciters,
Little Man,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.