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 Gabon and from Accra.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Portland and Houston.
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 synthesizer 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 Eli Mardock to the techno 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 Eve St. Jones. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Flash Fearless,
Kas Product,
Radiopuhelimet,
Grauzone,
Captain Beefheart & His Magic Band,
Lou Reed,
The Blues Magoos,
The Real Kids,
Mark Hollis,
Deutsch Amerikanische Freundschaft,
Gastr Del Sol,
Tropical Tobacco,
Jesper Dahlbäck,
Flipper,
Hoover,
The Dead C,
Michelle Simonal,
The Wake,
U.S. Maple,
The Cure,
Matthew Halsall,
Panda Bear,
Howard Jones,
Jesper Dahlback,
Warsaw,
Pagans,
John Foxx,
Interpol,
OOIOO,
Soul II Soul,
Robert Wyatt,
Mary Jane Girls,
Toni Rubio,
Neu!,
Bob Dylan,
The Techniques,
Kurtis Blow,
Lucky Dragons,
Suicide,
Lee Hazlewood,
Bill Near,
Agitation Free,
Sixth Finger,
The Grass Roots,
The Slits,
Kayak,
Dead Boys,
Crooked Eye,
Newcleus,
Brothers Johnson,
London Community Gospel Choir,
Kenny Larkin,
Notorious BIG live in Amsterdam,
Sad Lovers and Giants,
Kool Moe Dee,
Manfred Mann's Earth Band,
Vainqueur,
Ash Ra Tempel,
Cluster,
Shuggie Otis,
Country Teasers,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.