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 Nauru and from Hong Kong.
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 1971.
I'm losing my edge.
To all the kids in Houston and Salvador.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Stiv Bators to the grime kids.
I played it at the Astoria.
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 Kurtis Blow. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
Altered Images,
Derrick May,
the Association,
Howard Jones,
Quadrant,
Crime,
Scratch Acid,
8 Eyed Spy,
Marine Girls,
The Zeros,
Lucky Dragons,
The Wake,
The Dead C,
Monolake,
Metal Thangz,
Leonard Cohen,
Isaac Hayes,
Andrew Hill,
Harmonia,
Lalo Schifrin,
Slick Rick,
Danielle Patucci,
Connie Case,
Manfred Mann's Earth Band,
Severed Heads,
Vladislav Delay,
Albert Ayler,
Jandek,
Underground Resistance,
Lou Reed & John Cale,
Bang on a Can All-Stars,
Loose Ends,
Janne Schatter,
The Pop Group,
Brass Construction,
Sound Behaviour,
Supertramp,
Boz Scaggs,
It's A Beautiful Day,
Dawn Penn,
Slave,
Ralphi Rosario,
The Knickerbockers,
The Slackers,
the Swans,
The Toasters,
The Walker Brothers,
Stetsasonic,
Gil Scott-Heron & Brian Jackson,
Heaven 17,
Malaria!,
Country Joe & The Fish,
The Mummies,
Youth Brigade,
Wings,
The Sisters of Mercy,
The Flesh Eaters,
Fat Boys,
Michelle Simonal,
Desert Stars,
Lou Reed,
Deadbeat,
The Fortunes,
Television, Television, Television, Television.
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.