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 Papua New Guinea and from Madrid.
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 London and Mexico City.
I'm losing my edge to the art-school Manila 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 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 B.T. Express to the dance kids.
I played it at CBGB's.
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 Marc Almond. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Thinking Fellers Union Local 282 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rowland S Howard / Lydia Lunch,
The Pop Group,
The Last Poets,
Skriet,
Johnny Clarke,
Sound Behaviour,
T. Rex,
Schoolly D,
The Golliwogs,
Drexciya,
Teenage Jesus and the Jerks,
Sight & Sound,
DJ Style,
Orchestral Manoeuvres in the Dark,
Visage,
the Sonics,
Cal Tjader,
Shuggie Otis,
Sad Lovers and Giants,
Avey Tare,
Monolake,
Zero Boys,
Black Bananas,
Gil Scott-Heron and Jamie xx,
The Toasters,
Vladislav Delay,
The Dave Clark Five,
The Names,
The Fall,
Mars,
Young Marble Giants,
Alice Coltrane,
The Blackbyrds,
Talk Talk,
Jeff Lynne,
John Cale,
Delon & Dalcan,
Pulsallama,
The Knickerbockers,
Lalann,
U.S. Maple,
the Bar-Kays,
the Swans,
Strawberry Alarm Clock,
Ultimate Spinach,
Agent Orange,
Matthew Halsall,
The Human League,
Bang On A Can,
a-ha,
Gregory Isaacs,
Moebius,
Robert Wyatt,
The Move,
The Jesus and Mary Chain,
The Durutti Column,
The Five Americans,
The Busters,
Duran Duran,
Matthew Bourne,
Colin Newman,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.