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 Mauritania and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school Portland 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 spring reverb 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 Althea and Donna to the disco kids.
I played it at the Hacienda.
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 Royal Family And The Poor. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Cybotron record on German import.
I heard that you have a white label of every seminal funk 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Y Pants,
Lightning Bolt,
Kaleidoscope,
The Young Rascals,
Liaisons Dangereuses,
Bob Dylan,
Sällskapet,
48th St. Collective,
Black Pus,
Buzzcocks,
Massinfluence,
Pete Rock & C.L. Smooth,
Wolf Eyes,
Scratch Acid,
The Human League,
The Tremeloes,
The Martian,
The Index,
Manfred Mann's Earth Band,
Model 500,
Oppenheimer Analysis,
Lee Hazlewood,
Sex Pistols,
Adolescents,
Schoolly D,
Nirvana,
Skaos,
Erykah Badu,
Jerry Gold Smith,
The United States of America,
Pantytec,
Agitation Free,
David McCallum,
Todd Terry,
Gang Starr,
Pierre Henry,
Negative Approach,
Lebanon Hanover,
The Knickerbockers,
Gian Franco Pienzio,
Unwound,
Mantronix,
The Mummies,
Lonnie Liston Smith,
Minutemen,
Dead Boys,
Ultimate Spinach,
Ituana,
Zero Boys,
JFA,
Marine Girls,
Wire,
Dorothy Ashby,
Kas Product,
Severed Heads,
The Jesus and Mary Chain,
H. Thieme,
Siglo XX,
DJ Sneak,
Motorama,
The Evens, The Evens, The Evens, The Evens.
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.