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 Laos and from Stockholm.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Salvador and Paris.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 ABC to the punk kids.
I played it at the Spitz.
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 Index. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Funkadelic,
Vaughan Mason & Crew,
Q65,
Juan Atkins,
the Normal,
Supertramp,
Harry Pussy,
Jawbox,
Blake Baxter,
The Smiths,
The Barracudas,
Kas Product,
The Gories,
Marine Girls,
The Mummies,
China Crisis,
The Techniques,
The Shadows of Knight,
Todd Rundgren,
kango's stein massive,
Fatback Band,
Visionaries,LMNO, T- Love & Iriscience,
Slick Rick,
Röyhkä ja Rättö ja Lehtisalo,
Kool G Rap & DJ Polo,
Theoretical Girls,
Chris & Cosey,
Bauhaus,
Saccharine Trust,
Kerri Chandler,
Guru Guru,
Lyres,
Junior Murvin,
Excepter,
James White and The Blacks,
Suburban Knight,
Talk Talk,
the Germs,
Rites of Spring,
Connie Case,
cv313,
Larry & the Blue Notes,
Young Marble Giants,
Television Personalities,
Pantaleimon,
Altered Images,
The Motions,
Michelle Simonal,
Simply Red,
Flash Fearless,
Man Parrish,
Matthew Bourne,
Kings Of Tomorrow,
the Swans,
The Golliwogs,
The Birthday Party,
Oneida,
Leonard Cohen,
The Kinks,
The Zeros,
Arthur Verocai,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.