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 Andorra and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1975.
I'm losing my edge.
To all the kids in London and Taipei.
I'm losing my edge to the art-school Milan 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 clarinet 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 Unwound 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 The Move. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Visage,
Warsaw,
Dark Day,
Kevin Saunderson,
The Detroit Cobras,
The Walker Brothers,
Minutemen,
Robert Hood,
Janne Schatter,
UT,
John Foxx,
Cabaret Voltaire,
the Soft Cell,
Zapp,
Subhumans,
David Axelrod,
Bobby Sherman,
The Fire Engines,
Matthew Bourne,
The Velvet Underground,
Moebius,
The Vogues,
Echospace,
Bluetip,
The Durutti Column,
Donald Byrd,
Camberwell Now,
Das Ding,
Underground Resistance,
Derrick Morgan,
Aural Exciters,
Moss Icon,
Sarah Menescal,
Wire,
Mary Jane Girls,
Curtis Mayfield,
Cameo,
Ash Ra Tempel,
The Sisters of Mercy,
Fear,
Brand Nubian,
La Düsseldorf,
CMW,
Darondo,
Sixth Finger,
Pete Rock & C.L. Smooth,
Kerrie Biddell,
The Monochrome Set,
Grey Daturas,
Alison Limerick,
Guru Guru,
Michelle Simonal,
Accadde A,
The Human League,
Ice-T,
Bill Near,
Infiniti,
Sight & Sound,
Big Daddy Kane,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.