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 Croatia 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 1968 to 1975.
I'm losing my edge.
To all the kids in Madrid and Madrid.
I'm losing my edge to the art-school Tehran 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 Neu! practice in a loft in Düsseldorf.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Jawbox to the electroclash kids.
I played it at the Troubador.
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 Bob Dylan. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Howard Jones,
Andrew Ashong & Theo Parrish,
The Happenings,
Jeff Lynne,
Nik Kershaw,
Tres Demented,
The Mojo Men,
Hot Snakes,
Drive Like Jehu,
Dave Gahan,
Jeru the Damaja,
Crispian St. Peters,
The Mummies,
Michelle Simonal,
Flash Fearless,
AZ,
Camberwell Now,
The Motions,
Rod Modell,
The Real Kids,
Accadde A,
Aaron Thompson,
The Grass Roots,
Byron Stingily,
Siglo XX,
cv313,
Bluetip,
Bobbi Humphrey,
The Associates,
Camouflage,
Angry Samoans,
Pantytec,
Buzzcocks,
OOIOO,
Glenn Branca,
Minny Pops,
New Order,
Banda Bassotti,
Quadrant,
Todd Terry,
The Dead C,
Isaac Hayes,
Roxette,
Suburban Knight,
48th St. Collective,
ABBA,
Pulsallama,
Massinfluence,
Terror Squad Feat. Camron,
Dorothy Ashby,
Darondo,
Toni Rubio,
Captain Beefheart & His Magic Band,
Lizzy Mercier Descloux,
Talk Talk,
The Doobie Brothers,
Eddi Front,
Kool Moe Dee,
Interpol,
Judy Mowatt,
JFA,
Rufus Thomas,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.