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 Colombia and from Manchester.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Manila 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 E-Dancer to the electroclash kids.
I played it at the Crocodile.
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 Janne Schatter. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Boogie Down Productions 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 '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Bob Dylan,
Gichy Dan,
Heavy D & The Boyz,
Joe Smooth,
B.T. Express,
Wire,
The Cramps,
Andrew Ashong & Theo Parrish,
Max Romeo,
Cheater Slicks,
JFA,
LL Cool J,
Lizzy Mercier Descloux,
K-Klass,
the Sonics,
Metal Thangz,
Mr. Review,
a-ha,
The Divine Comedy,
Grey Daturas,
The Royal Family And The Poor,
Tim Buckley,
The Smoke,
Con Funk Shun,
Pantytec,
The Fugs,
The Knickerbockers,
Crispian St. Peters,
The Kinks,
The West Coast Pop Art Experimental Band,
Suicide,
The Index,
The Martian,
Mars,
The Cowsills,
R.M.O.,
D'Angelo,
Prince Buster,
Sister Nancy,
Parry Music,
Babytalk,
Bootsy's Rubber Band,
Brand Nubian,
Arcadia,
The Monks,
Scan 7,
Radiohead,
The Standells,
Lou Christie,
the Fania All-Stars,
Avey Tare,
Ultra Naté,
Barclay James Harvest,
Hasil Adkins,
Brass Construction,
Orchestral Manoeuvres in the Dark,
The Flesh Eaters,
Ronan, Ronan, Ronan, Ronan.
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.