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 Australia and from Manila.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Tehran 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Ken Boothe to the crunk 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 Jandek. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
The Vogues,
Depeche Mode,
Malaria!,
Average White Band,
Röyhkä ja Rättö ja Lehtisalo,
Radio Birdman,
The Star Department,
Cluster,
John Foxx,
Gichy Dan,
The Martian,
Ossler,
Lizzy Mercier Descloux,
Bobby Hutcherson,
Hashim,
Cabaret Voltaire,
Barbara Tucker,
New York Dolls,
DJ Sneak,
Rhythm & Sound,
Andrew Ashong & Theo Parrish,
Aaron Thompson,
The Cramps,
Electric Prunes,
the Association,
Roxette,
The Five Americans,
Fela Kuti,
London Community Gospel Choir,
World's Most,
Bizarre Inc.,
Camberwell Now,
Buzzcocks,
CMW,
Peter Gordon & Love of Life Orchestra,
The Cosmic Jokers,
Brick,
Aloha Tigers,
Dave Gahan,
LL Cool J,
Unwound,
Camouflage,
Peter and Kerry,
Strawberry Alarm Clock,
Essential Logic,
Deutsch Amerikanische Freundschaft,
The Music Machine,
Robert Görl,
Icehouse,
Judy Mowatt,
DeepChord presents Echospace,
The Zeros,
Adolescents,
Dual Sessions,
Pharaoh Sanders and the Fire Engines,
Ultra Naté,
Sam Rivers,
Jacques Brel,
Ohio Players,
Avey Tare & Kría Brekkan,
Loose Ends,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.