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 Ecuador and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Lille and Columbus.
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 rhodes sounds with much patience.
I was there when David Bowie 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 Bobbi Humphrey to the rap 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 Matthew Bourne. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every The Divine Comedy record on German import.
I heard that you have a white label of every seminal techno 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 an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
This Heat,
The Fuzztones,
Electric Light Orchestra,
The Detroit Cobras,
Delon & Dalcan,
The Men They Couldn't Hang,
Bush Tetras,
Kerri Chandler,
Masters at Work,
Thee Headcoats,
Liliput,
Japan,
The Dirtbombs,
The Seeds,
Crispian St. Peters,
Marine Girls,
The Knickerbockers,
The New Christs,
A Certain Ratio,
Bizarre Inc.,
Index,
Kurtis Blow,
The Techniques,
Slave,
Tears for Fears,
Royal Trux,
Reuben Wilson,
Hot Snakes,
Bobby Sherman,
Make Up,
Flamin' Groovies,
The Evens,
The Blackbyrds,
Gastr Del Sol,
Neu!,
Sun Ra,
Man Parrish,
The Gories,
Young Marble Giants,
Neil Young & Crazy Horse,
Television Personalities,
The Selecter,
Sexual Harrassment,
Sound Behaviour,
Man Eating Sloth,
Cal Tjader,
Al Stewart,
Robert Görl,
Terrestrial Tones,
Arab on Radar,
Model 500,
Kenny Larkin,
The Flesh Eaters,
Nils Olav,
Goldenarms,
The Zeros,
Skriet,
Teenage Jesus and the Jerks,
Drive Like Jehu,
Rotary Connection,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.