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 Czech Republic and from Tehran.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Toronto and Beijing.
I'm losing my edge to the art-school Salvador 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 organ 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 Bobby Sherman to the crunk kids.
I played it at the Astoria.
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 Rufus Thomas. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
the Swans,
The Dave Clark Five,
Franke,
Moby Grape,
H. Thieme,
Kango’s Stein Massive,
A Flock of Seagulls,
Oppenheimer Analysis,
The Names,
Neu!,
KRS-One,
Marine Girls,
Ponytail,
Arthur Verocai,
MC5,
Bill Near,
Sonic Youth,
Lou Reed & Metallica,
Sun Ra,
Vaughan Mason & Crew,
The Modern Lovers,
Porter Ricks,
The Buckinghams,
Cameo,
Section 25,
The Mojo Men,
DeepChord presents Echospace,
Ken Boothe,
Minnie Riperton,
Wire,
Organ,
Agitation Free,
Ronnie Foster,
Jacques Brel,
Vladislav Delay,
New York Dolls,
The Sisters of Mercy,
Stiv Bators,
Outsiders,
Blancmange,
The Slits,
Brick,
Judy Mowatt,
Au Pairs,
Joy Division,
Deadbeat,
Dawn Penn,
Hashim,
the Bar-Kays,
Sad Lovers and Giants,
Electric Light Orchestra,
A Certain Ratio,
The West Coast Pop Art Experimental Band,
Joyce Sims,
Bobby Sherman,
Arcadia,
Sandy B,
Lindisfarne,
Mantronix,
Pantytec,
The Associates,
The Victims, The Victims, The Victims, The Victims.
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.