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 Korea North and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Bologna.
I'm losing my edge to the art-school Winnipeg 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 sitar 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 Sight & Sound to the jazz kids.
I played it at the Troubador.
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 David Axelrod. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
The Real Kids,
Siglo XX,
Echospace,
The Cramps,
In Retrospect,
Ralphi Rosario,
JFA,
Al Stewart,
Boredoms,
Harmonia,
B.T. Express,
Thee Headcoats,
Neu!,
Soft Cell,
New Order,
Aural Exciters,
New Age Steppers,
Anthony Braxton,
Scan 7,
The Monks,
The Smoke,
Flipper,
the Soft Cell,
Bizarre Inc.,
The Sonics,
The Mighty Diamonds,
The Blues Magoos,
Lonnie Liston Smith,
Hardrive,
Royal Trux,
Sparks,
Sun Ra,
Sällskapet,
Cal Tjader,
Prince Buster,
Jeru the Damaja,
The Sisters of Mercy,
James Chance & The Contortions,
the Fania All-Stars,
Eddi Front,
Simply Red,
Visionaries,LMNO, T- Love & Iriscience,
Pole,
Ajijia Myrayebe,
Arthur Verocai,
Donald Byrd,
Icehouse,
Index,
The Pretty Things,
Kenny Larkin,
Tom Boy,
The Cowsills,
The Mojo Men,
John Foxx,
Joy Division,
Godley & Creme,
Electric Light Orchestra,
Grandmaster Flash,
Banda Bassotti,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.