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 Mexico and from Sao Paulo.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lille and Mexico City.
I'm losing my edge to the art-school Jakarta 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Ken Boothe to the rock kids.
I played it at the Spitz.
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 Gastr Del Sol. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Scrapy,
Spandau Ballet,
Maleditus Sound,
Basic Channel,
Grandmaster Flash,
Circle Jerks,
Robert Hood,
Animal Collective,
Mission of Burma,
Echo & the Bunnymen,
Kas Product,
Minny Pops,
Magazine,
F. McDonald,
Pharoah Sanders,
Symarip,
Roxette,
DNA,
X-102,
The Doors,
Gerry Rafferty,
The New Christs,
Gong,
David Bowie,
Joyce Sims,
La Düsseldorf,
Lou Christie,
Magma,
Neu!,
Sad Lovers and Giants,
Joy Division,
Eden Ahbez,
Cluster,
The Associates,
Nirvana,
Ronnie Foster,
Isaac Hayes,
The Golliwogs,
The Flesh Eaters,
T. Rex,
Gang of Four,
Theoretical Girls,
Laurel Aitken,
The Five Americans,
Rosa Yemen,
Mark Hollis,
X-Ray Spex,
Bang On A Can,
Dawn Penn,
Lou Reed & Metallica,
Oppenheimer Analysis,
Country Joe & The Fish,
The Men They Couldn't Hang,
The Cure,
Silicon Teens,
Whodini,
Donny Hathaway,
Peter Gordon & Love of Life Orchestra,
Sixth Finger,
Goldenarms,
Beasts of Bourbon,
Scion,
Eurythmics,
Visage, Visage, Visage, Visage.
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.