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 Germany and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1965 to 1970.
I'm losing my edge.
To all the kids in Taipei and Lille.
I'm losing my edge to the art-school Mexico City 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 snare 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 Dorothy Ashby to the funk kids.
I played it at the 40 Watt.
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 The Doors. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
T. Rex,
Icehouse,
Masters at Work,
Charles Mingus,
David McCallum,
Royal Trux,
Joe Smooth,
Gang Gang Dance,
Gong,
Joey Negro,
Mandrill,
Basic Channel,
The Gladiators,
The Pretty Things,
Matthew Halsall,
Wire,
Theoretical Girls,
Nas,
Livin' Joy,
Blossom Toes,
The Fugs,
Grey Daturas,
Yellowson,
Procol Harum,
The Toasters,
Ice-T,
Orchestral Manoeuvres in the Dark,
the Germs,
Cameo,
Maurizio,
Eddi Front,
Black Pus,
Simply Red,
Crispy Ambulance,
Ultravox,
Eurythmics,
Japan,
Fatback Band,
Flipper,
Flash Fearless,
Bronski Beat,
Heaven 17,
Laurel Aitken,
The Index,
Lalann,
Swell Maps,
The Five Americans,
Main Source,
Rekid,
D'Angelo,
K-Klass,
Roxette,
Marmalade,
Mark Hollis,
Cal Tjader,
The Slackers,
Lizzy Mercier Descloux,
Siouxsie and the Banshees,
Zero Boys,
ABBA,
Das Ding,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.