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 Suriname and from Lyon.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Lille.
I'm losing my edge to the art-school Copenhagen 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 1968 at the first Can practice in a loft in Cologne.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Real Kids to the dance 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 Soft Cell. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog 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 '80s cut and another box set from the '80s.
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 Underground Resistance record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Dennis Brown,
Neil Young & Crazy Horse,
Kayak,
Q and Not U,
The Beau Brummels,
The West Coast Pop Art Experimental Band,
Smog,
Slick Rick,
The Red Krayola,
Oblivians,
Cluster,
Clear Light,
Mark Hollis,
Blancmange,
8 Eyed Spy,
Sexual Harrassment,
Avey Tare's Slasher Flicks,
Fort Wilson Riot,
Traffic Nightmare,
Josef K,
Laurel Aitken,
Crooked Eye,
Scan 7,
Fear,
Arthur Verocai,
Boogie Down Productions,
Freddie Wadling,
Hasil Adkins,
The Dirtbombs,
Peter & Gordon,
Wighnomy Brothers & Robag Wruhme,
The Black Dice,
Brick,
Eli Mardock,
Nico,
Bobby Sherman,
The Barracudas,
Gang Green,
the Fania All-Stars,
Quadrant,
The Count Five,
Index,
The Alarm Clocks,
Terrestrial Tones,
A Flock of Seagulls,
The Fugs,
The Human League,
Rekid,
Radiopuhelimet,
the Normal,
Fifty Foot Hose,
Slave,
Subhumans,
The Gap Band,
John Holt,
Fatback Band,
Darondo,
John Lydon,
The Jesus and Mary Chain,
Pete Rock & C.L. Smooth,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.