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 Dominican Republic and from Mexico City.
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 1975.
I'm losing my edge.
To all the kids in Salvador and London.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro 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 Blake Baxter 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 Roxette. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
James White and The Blacks,
Lalann,
Todd Rundgren,
Brothers Johnson,
Notorious Big And Bone Thugs,
Q65,
Josef K,
The Fugs,
Scientists,
Larry & the Blue Notes,
Reagan Youth,
Blancmange,
Throbbing Gristle,
Grandmaster Flash,
The Monks,
The Walker Brothers,
Absolute Body Control,
Gichy Dan,
Laurel Aitken,
The Golliwogs,
Harry Pussy,
Infiniti,
Pharoah Sanders,
Man Parrish,
Nick Cave & The Bad Seeds,
Dawn Penn,
Q and Not U,
The Blackbyrds,
Stereo Dub,
Little Man,
L. Decosne,
Niagra,
Cheater Slicks,
Supertramp,
De La Soul & Jungle Brothers,
Ohio Players,
Lee Hazlewood,
The Cramps,
Piero Umiliani,
Flipper,
Traffic Nightmare,
The Cure,
Groovy Waters,
Orchestral Manoeuvres in the Dark,
Severed Heads,
Frankie Knuckles,
Fad Gadget,
Qualms,
Das Ding,
Kurtis Blow,
Pantytec,
Gong,
Basic Channel,
Big Daddy Kane,
Rites of Spring,
Black Moon,
Spoonie Gee,
Schoolly D,
D'Angelo,
Ten City,
The Fall, The Fall, The Fall, The Fall.
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.