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 Guinea-Bissau 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 1961 to 1972.
I'm losing my edge.
To all the kids in Houston and Columbus.
I'm losing my edge to the art-school Hong Kong 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 güiro sounds with much patience.
I was there when Holger Czukay 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 L. Decosne to the dance 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 Little Man. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Kool G Rap & DJ Polo,
Nick Fraelich,
ABBA,
Minutemen,
Freddie Wadling,
Sound Behaviour,
Peter Gordon & Love of Life Orchestra,
Grey Daturas,
Radiopuhelimet,
Con Funk Shun,
Eurythmics,
The Beau Brummels,
Japan,
The Gories,
Joy Division,
Max Romeo,
Ultravox,
The Cure,
Tommy Roe,
Brick,
Procol Harum,
Röyhkä ja Rättö ja Lehtisalo,
Royal Trux,
Section 25,
Moebius,
The Men They Couldn't Hang,
The Music Machine,
Pantaleimon,
The Barracudas,
The Trojans,
The Leaves,
Aloha Tigers,
Audionom,
The Human League,
Infiniti,
Drexciya,
The Detroit Cobras,
The Pop Group,
John Lydon,
Harry Pussy,
Newcleus,
Crispy Ambulance,
The Mojo Men,
Pole,
The Associates,
The Stooges,
Angels of Light & Akron/Family,
Radiohead,
Wolf Eyes,
Thee Headcoats,
the Association,
Sugar Minott,
Jerry's Kids,
Scott Walker + Sunn O))),
Country Joe & The Fish,
The Flesh Eaters,
the Human League,
Derrick May,
Ultramagnetic MC's,
Das Ding,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.