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 Equatorial Guinea and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Manila and Manila.
I'm losing my edge to the art-school London 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 1976 at the first Wire practice in a loft in Watford.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Brass Construction to the funk 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 Motions. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every David Bowie 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 synthesizer and a 808 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 harpsichord.
I hear that you and your band have sold your harpsichord 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?
Zero Boys,
Amon Düül II,
ABBA,
Donald Byrd,
Los Fastidios,
JFA,
Gastr Del Sol,
The Blackbyrds,
DJ Style,
Sun City Girls,
Boredoms,
David McCallum,
The Shadows of Knight,
Roger Hodgson,
Lou Reed,
Selector Dub Narcotic,
The Fortunes,
Infiniti,
The Victims,
Notorious BIG live in Amsterdam,
Royal Trux,
Scratch Acid,
Cluster,
Gang of Four,
Aloha Tigers,
Bill Wells,
James Chance & The Contortions,
Sam Rivers,
Mr. Review,
Bang On A Can,
Terror Squad Feat. Camron,
Mary Jane Girls,
John Lydon,
Basic Channel,
Animal Collective,
Visage,
Alton Ellis,
Delon & Dalcan,
Nik Kershaw,
The West Coast Pop Art Experimental Band,
H. Thieme,
Echospace,
Mantronix,
Scott Walker + Sunn O))),
Eurythmics,
Deakin,
Ten City,
8 Eyed Spy,
This Heat,
Patti Smith,
Kurtis Blow,
Lebanon Hanover,
MDC,
Liliput,
Bootsy's Rubber Band,
Louis and Bebe Barron,
Audionom,
the Soft Cell,
the Human League,
Ajijia Myrayebe,
Alice Coltrane,
The Motions,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.