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 Tanzania and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Paris and Edmonton.
I'm losing my edge to the art-school Glasgow 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Pulsallama to the grunge 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 Dorothy Ashby. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
Lucky Dragons,
Lee Hazlewood,
Bush Tetras,
The Fugs,
Colin Newman,
The Fall,
Eric Dolphy,
Red Lorry Yellow Lorry,
Silicon Teens,
Ronan,
Scott Walker + Sunn O))),
Yaz,
Erasure,
Avey Tare's Slasher Flicks,
Crooked Eye,
Howard Jones,
Lou Reed & Metallica,
Eli Mardock,
Bauhaus,
H. Thieme,
the Slits,
Charles Mingus,
ABBA,
48th St. Collective,
Bobby Sherman,
Lizzy Mercier Descloux,
Justin Hinds & The Dominoes,
Country Joe & The Fish,
The Real Kids,
Peter and Kerry,
Byron Stingily,
Kerrie Biddell,
The Velvet Underground,
F. McDonald,
Magazine,
Spoonie Gee,
The Human League,
Rites of Spring,
Soft Cell,
Oneida,
The Electric Prunes,
Cal Tjader,
a-ha,
New Age Steppers,
Q65,
Rowland S Howard / Lydia Lunch,
The Index,
Prince Buster,
Joe Smooth,
Hasil Adkins,
Mark Hollis,
Neil Young,
The Black Dice,
Severed Heads,
Lower 48,
Manfred Mann's Earth Band,
John Lydon,
Black Bananas,
Kauko Röyhkä ja Narttu,
Barrington Levy,
Ronnie Foster,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.