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 Denmark and from Shanghai.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Columbus.
I'm losing my edge to the art-school Manila 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Mantronix to the punk kids.
I played it at CBGB's.
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 Q and Not U. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Chrome 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet 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?
Bill Near,
Morten Harket,
Maurizio,
Liliput,
The Men They Couldn't Hang,
Fatback Band,
Fad Gadget,
Country Teasers,
Blancmange,
Mandrill,
Lou Reed & John Cale,
Harmonia,
Lou Reed,
Aural Exciters,
Rosa Yemen,
Echospace,
Swans,
Smog,
Sad Lovers and Giants,
Gil Scott-Heron & Brian Jackson,
Notorious Big And Bone Thugs,
Darondo,
Rekid,
Dave Gahan,
Gerry Rafferty,
The Monks,
the Bar-Kays,
Barclay James Harvest,
Terry Callier,
Groovy Waters,
Radiohead,
The Move,
Organ,
Johnny Osbourne,
Jesper Dahlbäck,
Oneida,
Suicide,
Kerri Chandler,
James Chance & The Contortions,
Judy Mowatt,
Liaisons Dangereuses,
Vainqueur,
Sonny Sharrock,
Simply Red,
Larry & the Blue Notes,
Alton Ellis,
Roger Hodgson,
Junior Murvin,
Tom Boy,
Blossom Toes,
Flash Fearless,
The Fugs,
Mr. Review,
The Electric Prunes,
Vaughan Mason & Crew,
Index,
Joe Smooth,
Reagan Youth,
In Retrospect,
cv313,
Strawberry Alarm Clock,
Deutsch Amerikanische Freundschaft,
The Trojans,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.