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 and from Manchester.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Spokane and Bologna.
I'm losing my edge to the art-school London 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 Wire practice in a loft in Watford.
I was working on the theremin 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 Procol Harum to the funk 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 The Associates. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every The Angels of Light record on German import.
I heard that you have a white label of every seminal grunge 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 marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Eric B and Rakim,
Ice-T,
Heaven 17,
Liaisons Dangereuses,
Bobby Womack,
Livin' Joy,
Skriet,
Cecil Taylor,
The Young Rascals,
AZ,
The Jesus and Mary Chain,
Dave Gahan,
Soft Cell,
Dorothy Ashby,
Kings Of Tomorrow,
Deutsch Amerikanische Freundschaft,
Sun Ra Arkestra,
Sarah Menescal,
Crispian St. Peters,
Basic Channel,
X-102,
Oppenheimer Analysis,
U.S. Maple,
Byron Stingily,
Loose Ends,
Orchestral Manoeuvres in the Dark,
Groovy Waters,
The Last Poets,
The Leaves,
Notorious Big And Bone Thugs,
Fear,
Kauko Röyhkä ja Narttu,
Sun City Girls,
the Soft Cell,
Bush Tetras,
Brass Construction,
Guru Guru,
Dawn Penn,
Selector Dub Narcotic,
ABBA,
Marvin Gaye,
Yazoo,
Joe Smooth,
Bootsy Collins,
Ituana,
The Angels of Light,
Bill Near,
La Düsseldorf,
The Gap Band,
The United States of America,
Mr. Review,
Suburban Knight,
UT,
Khruangbin,
Eden Ahbez,
Duran Duran,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.