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 Serbia and from Seoul.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Houston and Madrid.
I'm losing my edge to the art-school Mumbai 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 Art of Noise practice in a loft in London.
I was working on the linndrum 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 Amon Düül II to the rap kids.
I played it at Cafe Wha.
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 Eli Mardock. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Little Man,
Banda Bassotti,
Bizarre Inc.,
David Axelrod,
Pharaoh Sanders and the Fire Engines,
H. Thieme,
Deepchord,
Vaughan Mason & Crew,
Bang On A Can,
Kango’s Stein Massive,
Manfred Mann's Earth Band,
Kool Moe Dee,
The Beau Brummels,
Fatback Band,
CMW,
The Leaves,
A Flock of Seagulls,
Oblivians,
Ultramagnetic MC's,
The Raincoats,
Terry Callier,
Grandmaster Flash and the Furious Five,
Soft Cell,
Robert Görl,
Robert Hood,
Mandrill,
Wolf Eyes,
The United States of America,
Byron Stingily,
Joe Smooth,
R.M.O.,
Spoonie Gee,
The Velvet Underground,
Kerrie Biddell,
Nas,
The Selecter,
Moebius,
Michelle Simonal,
Altered Images,
The Sound,
In Retrospect,
Lonnie Liston Smith,
The Doors,
Severed Heads,
Siglo XX,
Joensuu 1685,
Marc Romboy vs. Booka Shade,
Siouxsie and the Banshees,
The Stooges,
Sly & The Family Stone,
a-ha,
Peter and Kerry,
Monolake,
Brand Nubian,
Eric Dolphy,
The Jesus and Mary Chain,
Sällskapet,
Jacob Miller,
Wings,
kango's stein massive,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.