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 Nicaragua and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Portland and Lagos.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
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 Loose Ends to the electroclash 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 Hasil Adkins. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Lyres 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Chris Corsano,
The Beau Brummels,
The Cure,
Los Fastidios,
James White and The Blacks,
The Doors,
Negative Approach,
Wally Richardson,
Country Joe & The Fish,
Hardrive,
Isaac Hayes,
Masters at Work,
The Gladiators,
Mary Jane Girls,
Mark Hollis,
Vainqueur,
Suburban Knight,
Stockholm Monsters,
The Red Krayola,
Scrapy,
JFA,
The Sound,
The Trojans,
Röyhkä ja Rättö ja Lehtisalo,
Matthew Bourne,
Radiohead,
Neu!,
Soulsonic Force,
Ten City,
Faust,
Alice Coltrane,
B.T. Express,
Icehouse,
H. Thieme,
Morten Harket,
The Count Five,
Average White Band,
The Move,
June Days,
Cybotron,
Lou Christie,
Khruangbin,
The Durutti Column,
Arab on Radar,
Kings Of Tomorrow,
Angels of Light & Akron/Family,
Swans,
Lightning Bolt,
Suicide,
Angry Samoans,
Marc Romboy vs. Booka Shade,
Scan 7,
World's Most,
Aural Exciters,
The Royal Family And The Poor,
Eden Ahbez,
Traffic Nightmare,
Stetsasonic,
Gichy Dan,
Pylon, Pylon, Pylon, Pylon.
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.