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 St Kitts & Nevis and from Accra.
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 1972.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Manchester 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Minnie Riperton to the disco kids.
I played it at Cafe Wha.
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 Jawbox. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Eddi Front 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 '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
The Monks,
Sunsets and Hearts,
Gang Gang Dance,
Black Sheep,
Sonny Sharrock,
The Names,
Flamin' Groovies,
Pete Rock & C.L. Smooth,
Darondo,
Glambeats Corp.,
Don Cherry,
T.S.O.L.,
Oblivians,
John Foxx,
Alphaville,
Girls At Our Best!,
Sällskapet,
Dawn Penn,
Gong,
Crispy Ambulance,
Nils Olav,
The Cowsills,
Bobbi Humphrey,
Dead Boys,
Pole,
Ten City,
the Soft Cell,
In Retrospect,
Adolescents,
Eddi Front,
Neu!,
D'Angelo,
Pet Shop Boys,
MDC,
Bill Wells,
The Selecter,
Ajijia Myrayebe,
Tears for Fears,
Lightning Bolt,
CMW,
The Electric Prunes,
Bauhaus,
Ossler,
Todd Rundgren,
The Angels of Light,
Terrestrial Tones,
Ludus,
Judy Mowatt,
Peter and Kerry,
Scientists,
Soft Cell,
Rites of Spring,
Procol Harum,
Neil Young & Crazy Horse,
Deutsch Amerikanische Freundschaft,
Index,
The Slackers,
Reuben Wilson,
Jesper Dahlback,
Porter Ricks,
Marc Almond,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.