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 Korea North and from Columbus.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1972.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Paris 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 Lou Reed 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 Barbara Tucker to the grime kids.
I played it at the 40 Watt.
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 Mark Hollis. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
X-Ray Spex,
Icehouse,
Al Stewart,
Mark Hollis,
Public Enemy,
Shoche,
Minnie Riperton,
Nils Olav,
The Selecter,
Gary Puckett & The Union Gap,
Mo-Dettes,
Sun Ra,
Ornette Coleman,
Boogie Down Productions,
Japan,
Eurythmics,
Rites of Spring,
John Holt,
Agent Orange,
Byron Stingily,
Brothers Johnson,
Roxette,
Marcia Griffiths,
The Move,
A Certain Ratio,
Jerry's Kids,
Maurizio,
Deepchord,
Big Daddy Kane,
Con Funk Shun,
Derrick Morgan,
Eric Dolphy,
Gregory Isaacs,
Kurtis Blow,
Steve Hackett,
Adolescents,
Bang On A Can,
Morten Harket,
Index,
Pharoah Sanders,
Au Pairs,
Infiniti,
Harry Pussy,
Bobby Hutcherson,
Flipper,
D'Angelo,
Jesper Dahlback,
Wolf Eyes,
cv313,
Michelle Simonal,
Joe Smooth,
Man Parrish,
The Human League,
Hot Snakes,
Arab on Radar,
Suicide,
Los Fastidios,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.