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 Thailand and from Lille.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Madrid.
I'm losing my edge to the art-school Tokyo 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Circle Jerks to the techno 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 Super Lover Cee & Casanova Rud. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Thee Headcoats,
Massinfluence,
DNA,
Alice Coltrane,
The Invisible,
Man Parrish,
New York Dolls,
Supertramp,
Stiv Bators,
Minutemen,
Wally Richardson,
The New Christs,
Talk Talk,
Newcleus,
James Chance & The Contortions,
Suburban Knight,
Young Marble Giants,
Sonic Youth,
Stockholm Monsters,
Wasted Youth,
Niagra,
Leonard Cohen,
Ronnie Foster,
The Moody Blues,
Flamin' Groovies,
Janne Schatter,
Neil Young,
Little Man,
Y Pants,
T. Rex,
The Detroit Cobras,
Pharaoh Sanders and the Fire Engines,
Toni Rubio,
Ultravox,
Cheater Slicks,
Carl Craig,
Masters at Work,
Bizarre Inc.,
Orchestral Manoeuvres in the Dark,
Siouxsie and the Banshees,
Henry Cow,
Tom Boy,
Banda Bassotti,
Make Up,
Black Moon,
Eurythmics,
The Fortunes,
Johnny Clarke,
Wire,
Ice-T,
Silicon Teens,
Accadde A,
Mandrill,
Marc Romboy vs. Booka Shade,
Agitation Free,
Skriet,
MDC,
Siglo XX,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.