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 Canada and from New York.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Salvador and Portland.
I'm losing my edge to the art-school Johannesburg 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Rekid to the crunk 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 Unrelated Segments. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Tears for Fears,
June Days,
ABBA,
Ornette Coleman,
Marc Almond,
Ludus,
Kings Of Tomorrow,
Fort Wilson Riot,
Prince Buster,
Ice-T,
Arcadia,
Andrew Ashong & Theo Parrish,
Electric Light Orchestra,
Crash Course in Science,
Wire,
Faraquet,
Scion,
Delon & Dalcan,
Radio Birdman,
Johnny Clarke,
Sight & Sound,
Funky Four + One,
June of 44,
Eric B and Rakim,
Sällskapet,
Young Marble Giants,
Masters at Work,
The Beau Brummels,
Charles Mingus,
The Cowsills,
Joe Finger,
The Gap Band,
Thompson Twins,
Technova,
The Angels of Light,
Rowland S Howard / Lydia Lunch,
The Star Department,
Agitation Free,
Lee Hazlewood,
Cecil Taylor,
Jeru the Damaja,
The Moleskins,
The Stooges,
kango's stein massive,
Lower 48,
Captain Beefheart & His Magic Band,
Juan Atkins,
KRS-One,
Joey Negro,
La Düsseldorf,
Roy Ayers,
Monolake,
Gerry Rafferty,
The West Coast Pop Art Experimental Band,
Colin Newman,
Crispy Ambulance,
Erasure,
Letta Mbulu,
Lakeside,
the Human League,
Sex Pistols,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.