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 Moldova and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television 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 1966 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Tehran.
I'm losing my edge to the art-school Seoul 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 chamberlin 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 The Jesus and Mary Chain to the punk 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 Subhumans. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
Sällskapet,
Lafayette Afro Rock Band,
Selector Dub Narcotic,
The Zeros,
Babytalk,
The Beau Brummels,
Dr. Dre and Snoop Doggy Dog,
Clear Light,
Heaven 17,
Interpol,
Deutsch Amerikanische Freundschaft,
Joe Finger,
The Sound,
Marshall Jefferson,
David Bowie,
Juan Atkins,
Matthew Bourne,
Josef K,
Popol Vuh,
Monolake,
T. Rex,
Roy Ayers,
Chris & Cosey,
Sugar Minott,
The American Breed,
Angels of Light & Akron/Family,
Kerri Chandler,
Mars,
Jimmy McGriff,
Johnny Clarke,
Underground Resistance,
Electric Light Orchestra,
Andrew Hill,
Oneida,
Severed Heads,
Hashim,
Masters at Work,
Vaughan Mason & Crew,
Lee Hazlewood,
Bobbi Humphrey,
Can,
A Certain Ratio,
Dead Boys,
Electric Prunes,
Terry Callier,
Symarip,
Warren Ellis,
Talk Talk,
The Peanut Butter Conspiracy,
Ultimate Spinach,
Fugazi,
Lower 48,
Tubeway Army,
Inner City,
Eli Mardock,
DeepChord presents Echospace,
Brand Nubian,
Skarface,
Scott Walker + Sunn O))),
Eddi Front,
Soft Cell,
ABBA,
Roxette, Roxette, Roxette, Roxette.
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.