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 Togo and from Bologna.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1960 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Salvador.
I'm losing my edge to the art-school Paris 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 The Slits to the electroclash kids.
I played it at CBGB's.
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 Urselle. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Thompson Twins 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 '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Flamin' Groovies,
The Fortunes,
The Slackers,
The Wake,
Bizarre Inc.,
Chris & Cosey,
Nick Fraelich,
Faraquet,
Sun Ra Arkestra,
The Music Machine,
Pussy Galore,
Slave,
Tom Boy,
The Chocolate Watch Band,
the Germs,
Connie Case,
Public Image Ltd.,
Nico,
Boredoms,
Lonnie Liston Smith,
The Black Dice,
The Shadows of Knight,
Lizzy Mercier Descloux,
Peter Gordon & Love of Life Orchestra,
KRS-One,
Selector Dub Narcotic,
Masters at Work,
Barclay James Harvest,
Cybotron,
Be Bop Deluxe,
June Days,
Babytalk,
Röyhkä ja Rättö ja Lehtisalo,
Soft Cell,
Section 25,
The Kinks,
Delta 5,
Robert Hood,
Pharoah Sanders,
DJ Sneak,
Saccharine Trust,
Harry Pussy,
Laurel Aitken,
Roy Ayers,
Gary Puckett & The Union Gap,
Man Parrish,
Liliput,
The Human League,
Curtis Mayfield,
Richard Hell and the Voidoids,
Tears for Fears,
Gregory Isaacs,
These Immortal Souls,
Cheater Slicks,
The Dirtbombs,
Skriet,
Soft Machine,
Erykah Badu,
UT,
The Vogues,
The Smiths, The Smiths, The Smiths, The Smiths.
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.