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 Micronesia and from Tehran.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Halifax.
I'm losing my edge to the art-school Stockholm 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Terrestrial Tones to the grunge 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 Depeche Mode. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Joe Smooth 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Dead Boys,
Half Japanese,
Faraquet,
Hasil Adkins,
Notorious BIG live in Amsterdam,
The Fall,
Chris & Cosey,
The Gun Club,
Stetsasonic,
Scrapy,
Pantaleimon,
Donny Hathaway,
It's A Beautiful Day,
Sällskapet,
The Gories,
Scott Walker,
Angry Samoans,
JFA,
Brick,
Peter and Kerry,
Tropical Tobacco,
Shuggie Otis,
Zero Boys,
Whodini,
Brass Construction,
ABC,
Sun Ra,
Liliput,
X-102,
Severed Heads,
Darondo,
Sex Pistols,
Rites of Spring,
James Chance & The Contortions,
Gil Scott-Heron and Jamie xx,
the Slits,
Sun City Girls,
Thinking Fellers Union Local 282,
Hashim,
The Royal Family And The Poor,
Metal Thangz,
Mandrill,
Von Mondo,
The Selecter,
Franke,
Fluxion,
Kango’s Stein Massive,
the Soft Cell,
Big Daddy Kane,
Colin Newman,
Reuben Wilson,
Lou Reed,
Dennis Brown,
the Normal,
The Litter,
Oppenheimer Analysis,
Bobby Sherman,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.