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 Latvia and from Philadelphia.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Seoul and Glasgow.
I'm losing my edge to the art-school Salvador 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 spring reverb 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 Siglo XX to the grunge kids.
I played it at the Crocodile.
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 Flamin' Groovies. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Lower 48,
Vladislav Delay,
Mr. Review,
The Trojans,
Gastr Del Sol,
Model 500,
Bizarre Inc.,
Popol Vuh,
London Community Gospel Choir,
Fela Kuti,
Lou Reed & Metallica,
Zapp,
Deutsch Amerikanische Freundschaft,
Minor Threat,
the Bar-Kays,
Bronski Beat,
Barclay James Harvest,
Visage,
A Certain Ratio,
Pylon,
Ponytail,
Oppenheimer Analysis,
Black Bananas,
Boz Scaggs,
Youth Brigade,
Man Parrish,
the Association,
JFA,
Vaughan Mason & Crew,
8 Eyed Spy,
The New Christs,
Chris & Cosey,
The Mighty Diamonds,
Wally Richardson,
John Foxx,
Sixth Finger,
Cheater Slicks,
Sound Behaviour,
Wings,
Tubeway Army,
Bush Tetras,
Japan,
The Index,
Roger Hodgson,
Laurel Aitken,
Can,
Black Pus,
June Days,
Easy Going,
Pussy Galore,
Cabaret Voltaire,
Letta Mbulu,
Lou Reed & John Cale,
Pantytec,
The Neon Judgement,
The Count Five,
Shuggie Otis,
The Detroit Cobras,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.