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 Sri Lanka and from Mexico City.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Taipei and Johannesburg.
I'm losing my edge to the art-school Spokane 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Monolake to the dance 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 Jerry Gold Smith. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Soul Sonic Force 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 '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Marine Girls,
The Monks,
Brass Construction,
Lou Reed,
Gian Franco Pienzio,
The Associates,
Ronan,
Chris & Cosey,
Dead Boys,
Lonnie Liston Smith,
Hot Snakes,
Howard Jones,
Section 25,
Grey Daturas,
The Fire Engines,
CMW,
Curtis Mayfield,
Ultravox,
Moebius,
John Holt,
Rakim,
Bootsy's Rubber Band,
Man Eating Sloth,
Kings Of Tomorrow,
Wally Richardson,
Symarip,
Young Marble Giants,
Bush Tetras,
Kerri Chandler,
Rod Modell,
Pussy Galore,
Aural Exciters,
Joyce Sims,
The Cowsills,
Notorious Big And Bone Thugs,
Lightning Bolt,
Strawberry Alarm Clock,
Visionaries,LMNO, T- Love & Iriscience,
The Five Americans,
Black Pus,
B.T. Express,
Echospace,
The Fall,
Siglo XX,
Funkadelic,
Ludus,
Lizzy Mercier Descloux,
X-Ray Spex,
the Slits,
Sällskapet,
Dorothy Ashby,
Agent Orange,
Silicon Teens,
Bronski Beat,
Jesper Dahlback,
Deakin,
Fad Gadget,
Stockholm Monsters,
The Residents,
The Doobie Brothers,
The Victims,
Average White Band,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.