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 Congo and from London.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord 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 A Flock of Seagulls to the jazz kids.
I played it at the Astoria.
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 Joe Finger. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
ABBA,
Curtis Mayfield,
Johnny Clarke,
Wings,
Red Lorry Yellow Lorry,
Marine Girls,
Lou Reed & Metallica,
Ajijia Myrayebe,
The Detroit Cobras,
Quando Quango,
The Moody Blues,
Aswad,
The Sisters of Mercy,
Cluster,
Heavy D & The Boyz,
Orchestral Manoeuvres in the Dark,
Rakim,
Public Enemy,
Rhythm & Sound,
Ken Boothe,
Danielle Patucci,
Boz Scaggs,
Cymande,
Das Ding,
Steve Hackett,
Au Pairs,
Gregory Isaacs,
Jerry Gold Smith,
Andrew Ashong & Theo Parrish,
Byron Stingily,
The Gun Club,
Gong,
Q and Not U,
Harpers Bizarre,
Khruangbin,
Spandau Ballet,
Monks,
Brick,
Leonard Cohen,
Slave,
Erasure,
Yaz,
Sällskapet,
The Modern Lovers,
Bootsy's Rubber Band,
Trumans Water,
Scientists,
kango's stein massive,
Stereo Dub,
This Heat,
Minny Pops,
It's A Beautiful Day,
China Crisis,
Gian Franco Pienzio,
These Immortal Souls,
Susan Cadogan,
Isaac Hayes,
John Lydon,
Parry Music,
The Shadows of Knight,
The Busters,
Maurizio,
Blancmange,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.