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 New Zealand and from Glasgow.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Paris and Delhi.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Arcadia to the funk 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 Sly & The Family Stone. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
The Shadows of Knight,
Eric Dolphy,
Kas Product,
Eddi Front,
Kenny Larkin,
The Kinks,
Clear Light,
Pantaleimon,
Toni Rubio,
The Selecter,
Ultra Naté,
Radio Birdman,
Hoover,
Blancmange,
the Slits,
Tomorrow,
MC5,
Albert Ayler,
The Wake,
Dave Gahan,
Traffic Nightmare,
Stetsasonic,
Make Up,
Parry Music,
The Happenings,
The Fugs,
Barbara Tucker,
Electric Light Orchestra,
Pere Ubu,
Cameo,
Sticky Fingaz feat. Raekwon,
Selector Dub Narcotic,
Lizzy Mercier Descloux,
Mark Hollis,
Television Personalities,
Andrew Hill,
Pharaoh Sanders and the Fire Engines,
Wire,
Deutsch Amerikanische Freundschaft,
Bobby Byrd,
the Soft Cell,
Agitation Free,
James White and The Blacks,
The Fall,
Ossler,
Terry Callier,
Absolute Body Control,
June of 44,
Anakelly,
Buzzcocks,
Peter Gordon & Love of Life Orchestra,
The Electric Prunes,
Quadrant,
The Detroit Cobras,
The Five Americans,
A Flock of Seagulls,
Robert Wyatt,
T.S.O.L.,
The Monks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gang Starr,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.