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 Korea North and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Glasgow 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Minnie Riperton to the dance kids.
I played it at the Hacienda.
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 Gichy Dan. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Clear Light 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Jeru the Damaja,
Chris Corsano,
Model 500,
Nik Kershaw,
The Mojo Men,
Groovy Waters,
Rotary Connection,
The Smoke,
Hardrive,
AZ,
Black Pus,
Cheater Slicks,
Make Up,
Roxy Music,
Roy Ayers,
Brothers Johnson,
The Dave Clark Five,
Echo & the Bunnymen,
Skriet,
Yellowson,
Crash Course in Science,
Lower 48,
Matthew Halsall,
Q65,
The Martian,
The Slackers,
Black Moon,
Tres Demented,
Flamin' Groovies,
Public Enemy,
The Doors,
D'Angelo,
Echospace,
Scan 7,
Crispian St. Peters,
John Lydon,
Quantec,
Max Romeo,
Angels of Light & Akron/Family,
Toni Rubio,
John Foxx,
Pere Ubu,
Throbbing Gristle,
Brand Nubian,
Ajijia Myrayebe,
Alton Ellis,
Arcadia,
Rekid,
These Immortal Souls,
Moebius,
The Moleskins,
Boz Scaggs,
Beasts of Bourbon,
Can,
Bauhaus,
Minny Pops,
Blossom Toes,
DJ Sneak,
Sällskapet,
Agitation Free,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.