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 Tanzania and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Lille and Mumbai.
I'm losing my edge to the art-school Stockholm 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Man Parrish to the funk 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 Deepchord. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Livin' Joy 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
The Leaves,
Nils Olav,
Minutemen,
Cal Tjader,
Kaleidoscope,
The Barracudas,
Aural Exciters,
Lee Hazlewood,
Art Ensemble Of Chicago,
the Sonics,
Make Up,
John Foxx,
The United States of America,
Mr. Review,
Tom Boy,
Fort Wilson Riot,
T.S.O.L.,
Rekid,
Tropical Tobacco,
Chrome,
Peter & Gordon,
Glenn Branca,
The Tremeloes,
Pierre Henry,
The Electric Prunes,
The Sonics,
B.T. Express,
Monolake,
John Coltrane,
a-ha,
U.S. Maple,
DeepChord presents Echospace,
The Offenders,
Leonard Cohen,
Mandrill,
Silicon Teens,
Mark Hollis,
K-Klass,
Young Marble Giants,
The Jesus and Mary Chain,
The Trojans,
Warren Ellis,
Tres Demented,
Talk Talk,
Byron Stingily,
Adolescents,
Moby Grape,
Scott Walker + Sunn O))),
Scratch Acid,
Y Pants,
Sandy B,
X-Ray Spex,
Davy DMX,
Eurythmics,
Teenage Jesus and the Jerks,
Sarah Menescal,
Andrew Hill,
Average White Band,
Delta 5,
Negative Approach,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.