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 Qatar and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Tehran.
I'm losing my edge to the art-school Edmonton 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Marc Almond to the grunge 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 China Crisis. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Ultimate Spinach,
Marvin Gaye,
The Monochrome Set,
Boz Scaggs,
The Names,
Marc Almond,
Bizarre Inc.,
Masters at Work,
Pussy Galore,
cv313,
Avey Tare & Kría Brekkan,
Depeche Mode,
Donald Byrd,
Amazonics,
Can,
The Smiths,
Lou Reed & Metallica,
Avey Tare,
The Last Poets,
The Cure,
Pole,
Goldenarms,
Reagan Youth,
Con Funk Shun,
The Pop Group,
Anthony Braxton,
the Bar-Kays,
Popol Vuh,
Country Joe & The Fish,
Yellowson,
Erykah Badu,
Selector Dub Narcotic,
Monolake,
The Dave Clark Five,
Kas Product,
Bronski Beat,
The Royal Family And The Poor,
Arthur Verocai,
Desert Stars,
Lungfish,
Dennis Brown,
Eddi Front,
Royal Trux,
Glenn Branca,
X-Ray Spex,
Lyres,
Steve Hackett,
Lou Reed,
The Fugs,
T. Rex,
Duran Duran,
The Misunderstood,
Arcadia,
Magazine,
The Fire Engines,
Pere Ubu,
David Bowie,
Talk Talk,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.