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 Ethiopia and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
I'm losing my edge to the art-school Milan 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Joensuu 1685 to the jazz 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 Goldenarms. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
Michelle Simonal,
The Index,
Pole,
The Fall,
Gregory Isaacs,
Fugazi,
Amon Düül II,
The Velvet Underground,
Lalann,
Pharaoh Sanders and the Fire Engines,
F. McDonald,
The Fortunes,
Joy Division,
In Retrospect,
The Sound,
Camberwell Now,
Aaron Thompson,
Urselle,
Young Marble Giants,
Quadrant,
The Litter,
Donny Hathaway,
New Order,
Lucky Dragons,
Sixth Finger,
Radiopuhelimet,
Deepchord,
The Alarm Clocks,
Liaisons Dangereuses,
Sound Behaviour,
LL Cool J,
Royal Trux,
Sarah Menescal,
Darondo,
Glenn Branca,
Sister Nancy,
Skarface,
The Mighty Diamonds,
June of 44,
Girls At Our Best!,
Gil Scott-Heron and Jamie xx,
Make Up,
Toni Rubio,
Bizarre Inc.,
Dave Gahan,
Sex Pistols,
Joyce Sims,
Grandmaster Flash,
Soul II Soul,
Visage,
Jeff Lynne,
Inner City,
Warsaw,
Scott Walker,
Altered Images,
Black Flag,
Lalo Schifrin,
Desert Stars,
Siouxsie and the Banshees,
Nick Cave & The Bad Seeds,
Hardrive,
Nas,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.