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 Bosnia Herzegovina and from New York.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Houston and Houston.
I'm losing my edge to the art-school Halifax 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Dual Sessions to the grime kids.
I played it at Trash.
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 Bill Near. All the underground hits.
All Can tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Saccharine Trust,
X-Ray Spex,
Arthur Verocai,
The Angels of Light,
the Association,
Ultimate Spinach,
Funky Four + One,
The West Coast Pop Art Experimental Band,
Severed Heads,
Lou Reed & John Cale,
Skarface,
Wolf Eyes,
MC5,
Pantaleimon,
Gil Scott-Heron and Jamie xx,
Fad Gadget,
Eric Dolphy,
The Blues Magoos,
Inner City,
Big Daddy Kane,
Sun City Girls,
Subhumans,
Lou Reed,
Roger Hodgson,
The Techniques,
The Litter,
Darondo,
Robert Wyatt,
Barclay James Harvest,
Delta 5,
Rhythm & Sound,
Negative Approach,
Tomorrow,
Aaron Thompson,
Tom Boy,
Icehouse,
Morten Harket,
The Leaves,
Jesper Dahlbäck,
Bootsy's Rubber Band,
The Wake,
Urselle,
Black Pus,
The Fuzztones,
Sam Rivers,
Arcadia,
David McCallum,
Kings Of Tomorrow,
Idris Muhammad,
Kas Product,
Moss Icon,
Cecil Taylor,
Janne Schatter,
Cluster,
Rod Modell,
Sällskapet,
Dennis Brown,
Bobby Sherman,
Heaven 17,
Orchestral Manoeuvres in the Dark,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.