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 Uzbekistan and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Houston 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Theoretical Girls to the rap kids.
I played it at the Spitz.
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 Todd Rundgren. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Nick Cave & The Bad Seeds 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley 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?
La Düsseldorf,
Matthew Bourne,
The Neon Judgement,
L. Decosne,
Gil Scott-Heron and Jamie xx,
Darondo,
Yusef Lateef,
Laurel Aitken,
Wings,
Index,
World's Most,
Roxette,
Country Teasers,
Roy Ayers Ubiquity,
the Normal,
Jawbox,
Supertramp,
Simply Red,
Second Layer,
Dave Gahan,
Masters at Work,
Barbara Tucker,
The Martian,
The Invisible,
Lee Hazlewood,
Altered Images,
The Barracudas,
Drive Like Jehu,
Eric Copeland,
These Immortal Souls,
The Mummies,
Crime,
Desert Stars,
Lindisfarne,
The Smoke,
Electric Prunes,
The Kinks,
Newcleus,
The Dave Clark Five,
Bad Manners,
The Trojans,
Popol Vuh,
The Detroit Cobras,
Duran Duran,
the Germs,
The Leaves,
Stockholm Monsters,
Soul II Soul,
Soft Machine,
Basic Channel,
Amon Düül,
Jerry's Kids,
the Human League,
The Jesus and Mary Chain,
Barrington Levy,
One Last Wish,
Grandmaster Flash,
Reagan Youth,
Qualms,
Scott Walker,
Faraquet, Faraquet, Faraquet, Faraquet.
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.