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 Kosovo and from Taipei.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Bremen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb 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 Godley & Creme to the dance 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 The Grass Roots. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every June of 44 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pet Shop Boys record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
The Misunderstood,
Popol Vuh,
the Bar-Kays,
Ten City,
Massinfluence,
The Victims,
Moby Grape,
Crime,
Bush Tetras,
Sarah Menescal,
Vainqueur,
R.M.O.,
Electric Prunes,
Parry Music,
Gabor Szabo,
Iggy Pop,
Silicon Teens,
Lakeside,
Flamin' Groovies,
Max Romeo,
Lalann,
The Detroit Cobras,
OOIOO,
the Association,
Barry Ungar,
Michelle Simonal,
Tomorrow,
Andrew Ashong & Theo Parrish,
Minor Threat,
The Index,
Girls At Our Best!,
Eyeless In Gaza,
Rapeman,
James White and The Blacks,
Graham Central Station,
Ornette Coleman,
Bad Manners,
the Swans,
Steve Hackett,
Fear,
The Flesh Eaters,
Newcleus,
Urselle,
Godley & Creme,
Cabaret Voltaire,
Pagans,
Guru Guru,
Shuggie Otis,
John Cale,
Pylon,
L. Decosne,
June of 44,
Kayak,
Erasure,
Eurythmics,
Sad Lovers and Giants,
Rhythm & Sound,
Curtis Mayfield,
Tim Buckley,
Brothers Johnson,
Black Pus,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.