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 South Africa and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school New York 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Howard Jones to the electroclash 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 Art Ensemble Of Chicago. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Frankie Knuckles 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar 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 Soft Cell record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Loose Ends,
Sight & Sound,
Visage,
Harry Pussy,
Howard Jones,
The Leaves,
The Happenings,
T. Rex,
Nation of Ulysses,
Jeff Lynne,
The Jesus and Mary Chain,
The Kinks,
The Music Machine,
Brothers Johnson,
Unwound,
Todd Terry,
Funky Four + One,
the Association,
Hot Snakes,
D'Angelo,
Heaven 17,
Camberwell Now,
Jesper Dahlback,
Piero Umiliani,
Judy Mowatt,
Rufus Thomas,
Andrew Hill,
Archie Shepp,
La Düsseldorf,
Underground Resistance,
The Gories,
Young Marble Giants,
The Beau Brummels,
Symarip,
Public Enemy,
Groovy Waters,
Nirvana,
The Dave Clark Five,
Mandrill,
Lou Reed & John Cale,
Mars,
Yazoo,
T.S.O.L.,
Deadbeat,
Terry Callier,
Ronnie Foster,
Moss Icon,
World's Most,
Model 500,
Toni Rubio,
Desert Stars,
a-ha,
David McCallum,
Rhythim Is Rhythim,
Severed Heads,
The Blackbyrds,
Justin Hinds & The Dominoes,
Marcia Griffiths,
Mantronix,
Massinfluence,
Warsaw, Warsaw, Warsaw, Warsaw.
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.