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 Ukraine and from Tokyo.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Philadelphia.
I'm losing my edge to the art-school Taipei 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 oboe 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 Stiv Bators to the dance 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 Crime. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Technova 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
The Kinks,
Louis and Bebe Barron,
Visage,
Country Teasers,
Peter and Kerry,
Jesper Dahlbäck,
Minnie Riperton,
Wings,
Crash Course in Science,
Public Enemy,
The Jesus and Mary Chain,
Danielle Patucci,
The Smoke,
The Electric Prunes,
Bush Tetras,
Lucky Dragons,
Bizarre Inc.,
Morten Harket,
Sister Nancy,
These Immortal Souls,
Ponytail,
Amazonics,
The Five Americans,
Bobby Sherman,
Cybotron,
Josef K,
Television,
Gang Gang Dance,
Amon Düül II,
Lightning Bolt,
Thee Headcoats,
Theoretical Girls,
Accadde A,
Jandek,
Bobby Hutcherson,
Magazine,
Joy Division,
Joe Smooth,
The Residents,
Section 25,
Patti Smith,
Black Flag,
June of 44,
Don Cherry,
Audionom,
The Modern Lovers,
James Chance & The Contortions,
Ossler,
Jacob Miller,
Peter Gordon & Love of Life Orchestra,
The West Coast Pop Art Experimental Band,
Echospace,
Kauko Röyhkä ja Narttu,
Blancmange,
Mark Hollis,
Sight & Sound,
Nils Olav,
Lafayette Afro Rock Band,
EPMD,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.