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 Congo and from Bologna.
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 1972.
I'm losing my edge.
To all the kids in Winnipeg and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 Human League practice in a loft in Sheffield.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 The Litter 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 Wolf Eyes. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal rock 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Bill Wells,
Camron Feat. Memphis Bleek And Beenie Seigel,
David Axelrod,
Gabor Szabo,
The Blues Magoos,
The Walker Brothers,
Minutemen,
CMW,
Lonnie Liston Smith,
Pantytec,
Quantec,
Ludus,
Aaron Thompson,
Jimmy McGriff,
Drexciya,
Joy Division,
T.S.O.L.,
Mantronix,
The Offenders,
The Slackers,
The Victims,
Magazine,
The Pop Group,
Electric Prunes,
Ten City,
JFA,
Godley & Creme,
Archie Shepp,
The Young Rascals,
Jerry Gold Smith,
Hasil Adkins,
Soft Cell,
Teenage Jesus and the Jerks,
The Fall,
Essential Logic,
Lalann,
Zero Boys,
Freddie Wadling,
Spandau Ballet,
The Dead C,
Ajijia Myrayebe,
Gang Gang Dance,
Avey Tare & Kría Brekkan,
Section 25,
Anthony Braxton,
Warren Ellis,
Lalo Schifrin,
Albert Ayler,
Soul II Soul,
Yellowson,
Sister Nancy,
Colin Newman,
Marvin Gaye,
Popol Vuh,
Super Lover Cee & Casanova Rud,
Lebanon Hanover,
Loose Ends,
Schoolly D,
Dr. Dre and Snoop Doggy Dog,
Hot Snakes,
Eddi Front,
One Last Wish,
The Monochrome Set,
The Busters, The Busters, The Busters, The Busters.
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.