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 Sweden and from Stockholm.
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 1971.
I'm losing my edge.
To all the kids in Houston and Shanghai.
I'm losing my edge to the art-school Tehran 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Angry Samoans to the dance 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 New York Dolls. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Ultravox,
Nico,
The Fugs,
Dual Sessions,
Crime,
E-Dancer,
Skriet,
Pierre Henry,
Oppenheimer Analysis,
John Holt,
DNA,
The Shadows of Knight,
Barclay James Harvest,
The Residents,
Royal Trux,
H. Thieme,
Bobbi Humphrey,
Kas Product,
Mantronix,
Underground Resistance,
Public Enemy,
X-Ray Spex,
Isaac Hayes,
The United States of America,
Kenny Larkin,
The Standells,
U.S. Maple,
The Invisible,
Flipper,
Jacob Miller,
Soft Cell,
Andrew Ashong & Theo Parrish,
The Real Kids,
The Motions,
The Velvet Underground,
Eli Mardock,
Tommy Roe,
Zero Boys,
The Misunderstood,
Lindisfarne,
Mandrill,
Grandmaster Flash,
Bang on a Can All-Stars,
Graham Central Station,
The Buckinghams,
The Names,
The Peanut Butter Conspiracy,
Moebius,
Nirvana,
One Last Wish,
Jesper Dahlbäck,
Warsaw,
Banda Bassotti,
Cabaret Voltaire,
Yaz,
Josef K,
Blake Baxter,
Rufus Thomas,
Babytalk,
Eddi Front,
Mo-Dettes,
The Searchers, The Searchers, The Searchers, The Searchers.
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.