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 Micronesia and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1972.
I'm losing my edge.
To all the kids in Toronto and Accra.
I'm losing my edge to the art-school Hong Kong 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Lyres to the disco 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 Kings Of Tomorrow. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Marc Almond,
Kaleidoscope,
Tears for Fears,
Chris Corsano,
Barrington Levy,
Idris Muhammad,
The Stooges,
Rowland S Howard / Lydia Lunch,
Echospace,
The Walker Brothers,
Public Enemy,
Boredoms,
Bobby Byrd,
Camron Feat. Memphis Bleek And Beenie Seigel,
Crispy Ambulance,
Terror Squad Feat. Camron,
The Red Krayola,
Freddie Wadling,
Black Bananas,
Justin Hinds & The Dominoes,
Brothers Johnson,
JFA,
Lou Christie,
Soul II Soul,
Eli Mardock,
The Leaves,
John Foxx,
Kevin Saunderson,
Junior Murvin,
Minnie Riperton,
Crispian St. Peters,
Joe Finger,
Young Marble Giants,
Oblivians,
Gil Scott Heron,
Main Source,
One Last Wish,
Index,
Pierre Henry,
Magazine,
Mary Jane Girls,
Eurythmics,
The Electric Prunes,
Jacques Brel,
Funky Four + One,
Gang of Four,
Pussy Galore,
Dawn Penn,
The Beau Brummels,
Thinking Fellers Union Local 282,
Black Moon,
Saccharine Trust,
Drive Like Jehu,
The Gap Band,
Amon Düül II,
Babytalk,
Masters at Work,
Ronan,
Sällskapet,
The Cure,
The Gun Club,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.