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 Madagascar and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1976.
I'm losing my edge.
To all the kids in Paris and Lyon.
I'm losing my edge to the art-school Portland 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 organ 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 Lalann to the jazz 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 Lou Reed. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Girls At Our Best! 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 '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
Junior Murvin,
Iggy Pop,
Cabaret Voltaire,
Cymande,
Monolake,
Delon & Dalcan,
Main Source,
David Axelrod,
Agitation Free,
Stiv Bators,
Pulsallama,
Bobby Sherman,
Pharoah Sanders,
MDC,
cv313,
Vainqueur,
Ultramagnetic MC's,
Tears for Fears,
Malaria!,
Eurythmics,
The Saints,
Icehouse,
The Dirtbombs,
Roxy Music,
Captain Beefheart & His Magic Band,
The Divine Comedy,
Fat Boys,
Minor Threat,
Scratch Acid,
Jeff Mills,
Soul II Soul,
Yaz,
Shoche,
The Motions,
Zero Boys,
Mark Hollis,
Heavy D & The Boyz,
Babytalk,
Skaos,
DNA,
Roger Hodgson,
Alice Coltrane,
A Certain Ratio,
Ohio Players,
Red Lorry Yellow Lorry,
Pole,
Toni Rubio,
Marc Romboy vs. Booka Shade,
Spandau Ballet,
Terror Squad Feat. Camron,
Mission of Burma,
Procol Harum,
Nirvana,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jacob Miller,
Agent Orange,
The Blackbyrds,
The Royal Family And The Poor,
The Techniques,
Television Personalities,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.