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 Gabon and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Delhi 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 theremin 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 Ludus to the electroclash kids.
I played it at the Spitz.
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 Lucky Dragons. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Inner City 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Adolescents,
a-ha,
Cymande,
Deutsch Amerikanische Freundschaft,
Sound Behaviour,
This Heat,
Jesper Dahlback,
Janne Schatter,
Mary Jane Girls,
Jesper Dahlbäck,
The Blackbyrds,
Lucky Dragons,
Brick,
Sixth Finger,
The Buckinghams,
Radiopuhelimet,
Yellowson,
Mark Hollis,
Marc Romboy vs. Booka Shade,
John Coltrane,
The Count Five,
Au Pairs,
Marcia Griffiths,
Funkadelic,
New York Dolls,
John Cale,
Art Ensemble Of Chicago,
Pet Shop Boys,
T.S.O.L.,
The Remains,
Prince Buster,
Liaisons Dangereuses,
Spoonie Gee,
Thompson Twins,
Kenny Larkin,
London Community Gospel Choir,
Los Fastidios,
Isaac Hayes,
Fad Gadget,
Deakin,
Country Joe & The Fish,
Roy Ayers Ubiquity,
Fugazi,
Ash Ra Tempel,
the Fania All-Stars,
June of 44,
Moebius,
Bill Wells,
Monks,
Harmonia,
The Mighty Diamonds,
The Five Americans,
The Cramps,
Scan 7,
The Martian,
Kauko Röyhkä ja Narttu,
Pussy Galore,
Bobby Womack,
The New Christs,
The Techniques,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.