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 Syria and from Madrid.
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 1962 to 1974.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school Madrid 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 Michael McDonald 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 8 Eyed Spy to the rock kids.
I played it at the Hacienda.
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 Art Ensemble Of Chicago. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
The Five Americans,
the Association,
Darondo,
Ornette Coleman,
Avey Tare's Slasher Flicks,
Talk Talk,
Deutsch Amerikanische Freundschaft,
Terrestrial Tones,
Wally Richardson,
The Music Machine,
Grandmaster Flash,
Bronski Beat,
Quantec,
Quadrant,
Interpol,
Dawn Penn,
The Angels of Light,
Los Fastidios,
Girls At Our Best!,
Jandek,
The Beau Brummels,
Andrew Hill,
Thee Headcoats,
Schoolly D,
the Sonics,
Radiohead,
CMW,
The Fuzztones,
Eyeless In Gaza,
Bobby Womack,
Moby Grape,
Roxette,
Scratch Acid,
Black Flag,
The West Coast Pop Art Experimental Band,
The Velvet Underground,
The Smoke,
Con Funk Shun,
Minor Threat,
Nico,
Neil Young,
Lower 48,
Tomorrow,
The Golliwogs,
Pylon,
The United States of America,
Visionaries,LMNO, T- Love & Iriscience,
The Zeros,
Urselle,
David Axelrod,
Ohio Players,
Easy Going,
Crispy Ambulance,
Boogie Down Productions,
Pere Ubu,
the Fania All-Stars,
Gang of Four,
Young Marble Giants,
Liliput,
Scan 7,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.