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 Nigeria and from Manchester.
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 1977.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the theremin 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 The Neon Judgement to the techno kids.
I played it at the 40 Watt.
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 Ice-T. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every The Toasters 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 '80s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Mandrill,
The Moody Blues,
Oblivians,
Kayak,
David McCallum,
8 Eyed Spy,
Niagra,
Ultravox,
Lower 48,
The Fall,
The Music Machine,
Cameo,
Mark Hollis,
Moebius,
Essential Logic,
Traffic Nightmare,
The Detroit Cobras,
The Pop Group,
Kango’s Stein Massive,
The Chocolate Watch Band,
DJ Sneak,
Cal Tjader,
Judy Mowatt,
Camron Feat. Memphis Bleek And Beenie Seigel,
Animal Collective,
Derrick Morgan,
Electric Prunes,
Susan Cadogan,
Suburban Knight,
Lindisfarne,
Kenny Larkin,
Rekid,
Nils Olav,
The Human League,
Nirvana,
The Shadows of Knight,
John Foxx,
A Flock of Seagulls,
The Modern Lovers,
Robert Wyatt,
Be Bop Deluxe,
Drive Like Jehu,
The Walker Brothers,
Infiniti,
Deakin,
Maurizio,
Little Man,
New York Dolls,
Mad Mike,
cv313,
James Chance & The Contortions,
Motorama,
X-Ray Spex,
The Selecter,
The Vogues,
Peter & Gordon,
Toni Rubio,
Schoolly D,
The Jesus and Mary Chain,
L. Decosne,
John Lydon,
Neil Young & Crazy Horse,
X-102, X-102, X-102, X-102.
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.