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 Greece and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Beijing and Beijing.
I'm losing my edge to the art-school Halifax 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Rakim to the rap kids.
I played it at the Roxy.
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 Circle Jerks. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Tres Demented 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 '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Byron Stingily,
Vladislav Delay,
Terror Squad Feat. Camron,
Masters at Work,
Depeche Mode,
Crash Course in Science,
Pulsallama,
Yaz,
Spandau Ballet,
The Pretty Things,
The Blues Magoos,
Intrusion,
Jerry Gold Smith,
In Retrospect,
Grandmaster Flash,
the Sonics,
Electric Prunes,
Brothers Johnson,
Lakeside,
Mandrill,
Liaisons Dangereuses,
Altered Images,
Jesper Dahlbäck,
Popol Vuh,
Babytalk,
Y Pants,
Scott Walker,
Fifty Foot Hose,
Eyeless In Gaza,
Ralphi Rosario,
Marcia Griffiths,
The Slits,
June of 44,
Ajijia Myrayebe,
DJ Sneak,
Cybotron,
Kauko Röyhkä ja Narttu,
Pete Rock & C.L. Smooth,
Reagan Youth,
Grauzone,
Banda Bassotti,
Roy Ayers,
Interpol,
The Busters,
the Slits,
Sight & Sound,
David McCallum,
the Association,
Buzzcocks,
Gang Green,
Lucky Dragons,
Fugazi,
Bronski Beat,
L. Decosne,
Mo-Dettes,
Bobby Womack,
The Angels of Light,
Neu!,
Andrew Ashong & Theo Parrish,
Fatback Band,
Easy Going,
Kenny Larkin,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.