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 Denmark and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1972.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Portland 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 Soft Boys practice in a loft in Cambridge.
I was working on the snare 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 Rufus Thomas to the grime 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 The Fire Engines. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Babytalk record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Eyeless In Gaza,
Fela Kuti,
Wings,
The Moleskins,
EPMD,
Rosa Yemen,
Nico,
Stereo Dub,
The Smiths,
Mo-Dettes,
Q65,
Quando Quango,
Ultramagnetic MC's,
Fort Wilson Riot,
Thee Headcoats,
The Toasters,
the Human League,
Teenage Jesus and the Jerks,
Ralphi Rosario,
Eric Copeland,
48th St. Collective,
Essential Logic,
Liliput,
Spandau Ballet,
Barry Ungar,
Jesper Dahlback,
Oblivians,
Franke,
Wolf Eyes,
Loose Ends,
Max Romeo,
the Germs,
Deutsch Amerikanische Freundschaft,
Lou Reed & Metallica,
Alphaville,
Los Fastidios,
Ossler,
The Residents,
Derrick May,
The Modern Lovers,
Yellowson,
Sun City Girls,
Jimmy McGriff,
Simply Red,
Gerry Rafferty,
Jeff Lynne,
Scratch Acid,
R.M.O.,
The Neon Judgement,
Parry Music,
Wally Richardson,
Von Mondo,
Camouflage,
The Pretty Things,
Ultra Naté,
Kerri Chandler,
The Chocolate Watch Band,
Bill Wells,
Gregory Isaacs,
Whodini, Whodini, Whodini, Whodini.
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.