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 Monaco and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Bremen 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 harpsichord 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 James White and The Blacks to the crunk 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 Gerry Rafferty. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
The United States of America,
Blake Baxter,
Tomorrow,
Circle Jerks,
Bush Tetras,
The Cure,
The Slackers,
Adolescents,
Harmonia,
Sister Nancy,
Loose Ends,
The Smiths,
Eden Ahbez,
The Searchers,
Slick Rick,
Dave Gahan,
Soulsonic Force,
Rekid,
The Flesh Eaters,
Ultramagnetic MC's,
Model 500,
Marmalade,
PIL,
Ultra Naté,
Theoretical Girls,
Barrington Levy,
Andrew Ashong & Theo Parrish,
Peter and Kerry,
Pylon,
Peter Gordon & Love of Life Orchestra,
The Red Krayola,
Joyce Sims,
Metal Thangz,
Brothers Johnson,
DeepChord presents Echospace,
Deakin,
La Düsseldorf,
Sonic Youth,
Graham Central Station,
Shoche,
Mission of Burma,
The Star Department,
The Gap Band,
John Cale,
Scott Walker,
Rosa Yemen,
Jerry's Kids,
Con Funk Shun,
The Gun Club,
Silicon Teens,
Wings,
Drexciya,
Sam Rivers,
Black Sheep,
Flipper,
The Offenders,
Beasts of Bourbon,
Public Enemy,
Gang Green,
Cluster,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.