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 Venezuela 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 1961 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Lille.
I'm losing my edge to the art-school Bologna 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Godley & Creme to the disco kids.
I played it at the Troubador.
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 Marvin Gaye. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Danielle Patucci record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Glenn Branca,
Cluster,
Index,
New York Dolls,
James White and The Blacks,
Ken Boothe,
Mandrill,
Sam Rivers,
Soulsonic Force,
Fifty Foot Hose,
The Walker Brothers,
Kerrie Biddell,
Reuben Wilson,
Symarip,
Camberwell Now,
Wire,
Model 500,
Johnny Clarke,
U.S. Maple,
Malaria!,
Lucky Dragons,
Joe Smooth,
A Flock of Seagulls,
The Pretty Things,
Avey Tare's Slasher Flicks,
The Star Department,
DJ Style,
Larry & the Blue Notes,
the Fania All-Stars,
DNA,
Rhythm & Sound,
Pere Ubu,
Minutemen,
The Chocolate Watch Band,
Fad Gadget,
Minnie Riperton,
PIL,
Steve Hackett,
The Slits,
Bobby Byrd,
Terry Callier,
EPMD,
Juan Atkins,
The Smoke,
The United States of America,
Scientists,
Ultravox,
The Leaves,
Henry Cow,
Rapeman,
The Real Kids,
Pole,
Sällskapet,
Marc Romboy vs. Booka Shade,
Cabaret Voltaire,
Lalann,
Stiv Bators,
Minny Pops,
The New Christs,
Brass Construction,
The Standells,
the Germs, the Germs, the Germs, the Germs.
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.