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 Vietnam and from Jakarta.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Calgary 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 synthesizer 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 The Beau Brummels to the punk 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 H. Thieme. All the underground hits.
All Television tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Infiniti,
Soul II Soul,
CMW,
Kauko Röyhkä ja Narttu,
K-Klass,
Audionom,
Barbara Tucker,
Franke,
Graham Central Station,
Qualms,
LL Cool J,
AZ,
Desert Stars,
Arab on Radar,
Susan Cadogan,
Marcia Griffiths,
Big Daddy Kane,
Gang Starr,
Throbbing Gristle,
Black Sheep,
Major Organ And The Adding Machine,
Grandmaster Flash and the Furious Five,
Sugar Minott,
Fela Kuti,
Pussy Galore,
Avey Tare,
Ralphi Rosario,
Don Cherry,
Jacques Brel,
Gabor Szabo,
James White and The Blacks,
Public Enemy,
Y Pants,
Crispian St. Peters,
Scion,
the Normal,
Brass Construction,
Sad Lovers and Giants,
David Bowie,
Jesper Dahlbäck,
Kayak,
Michelle Simonal,
The Chocolate Watch Band,
Kool G Rap & DJ Polo,
Toni Rubio,
Boredoms,
Visionaries,LMNO, T- Love & Iriscience,
The Count Five,
The Skatalites,
Alison Limerick,
Shuggie Otis,
The Toasters,
Super Lover Cee & Casanova Rud,
Q and Not U,
Iggy Pop,
Johnny Clarke,
Neil Young & Crazy Horse,
Von Mondo,
Rapeman,
Stockholm Monsters,
Underground Resistance,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.