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 Ecuador and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Mexico City.
I'm losing my edge to the art-school Copenhagen 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 spring reverb 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 Minny Pops to the electroclash kids.
I played it at the Roxy.
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 The Move. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Neu!,
Echo & the Bunnymen,
The Mighty Diamonds,
Avey Tare,
Oblivians,
The Motions,
Unrelated Segments,
H. Thieme,
Soft Cell,
Skarface,
The Sonics,
The Toasters,
Minutemen,
Lyres,
Shoche,
Trumans Water,
Sällskapet,
Matthew Halsall,
Roxette,
Niagra,
Dawn Penn,
Pet Shop Boys,
Sonny Sharrock,
These Immortal Souls,
Ronan,
Cal Tjader,
The Happenings,
Kool G Rap & DJ Polo,
Nils Olav,
Minny Pops,
The Saints,
Lightning Bolt,
The Modern Lovers,
Glenn Branca,
Mission of Burma,
Lizzy Mercier Descloux,
The Slits,
Matthew Bourne,
Erasure,
De La Soul & Jungle Brothers,
The Litter,
Hot Snakes,
Arab on Radar,
Isaac Hayes,
Qualms,
Aural Exciters,
The Chocolate Watch Band,
Duran Duran,
Amon Düül,
Rites of Spring,
Maleditus Sound,
Dorothy Ashby,
Bill Wells,
Sugar Minott,
Wasted Youth,
Bang on a Can All-Stars,
Terrestrial Tones,
Derrick Morgan,
Cymande,
Rakim,
Public Enemy,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.