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 Bulgaria and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1972.
I'm losing my edge.
To all the kids in Bremen and Toronto.
I'm losing my edge to the art-school Manila 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Stereo Dub to the jazz kids.
I played it at the Roxy.
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 James Chance & The Contortions. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Grey Daturas 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Suburban Knight,
F. McDonald,
Jawbox,
Half Japanese,
Duran Duran,
Anthony Braxton,
Cameo,
Robert Wyatt,
The Leaves,
The Tremeloes,
Selector Dub Narcotic,
Unrelated Segments,
UT,
Marc Almond,
Orchestral Manoeuvres in the Dark,
Lafayette Afro Rock Band,
Flamin' Groovies,
Parry Music,
The Velvet Underground,
Jacques Brel,
Eric Copeland,
Red Lorry Yellow Lorry,
Visionaries,LMNO, T- Love & Iriscience,
the Sonics,
The Gap Band,
Cybotron,
Yaz,
La Düsseldorf,
Pylon,
Q and Not U,
D'Angelo,
Leonard Cohen,
New York Dolls,
Gong,
Robert Görl,
Don Cherry,
Moss Icon,
The Mighty Diamonds,
PIL,
Charles Mingus,
Simply Red,
The Selecter,
Agent Orange,
kango's stein massive,
Eyeless In Gaza,
Khruangbin,
Unwound,
DJ Sneak,
Swell Maps,
10cc,
The Residents,
Toni Rubio,
Peter Gordon & Love of Life Orchestra,
Colin Newman,
CMW,
Aswad,
Maurizio,
Gil Scott Heron,
Babytalk,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.