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 St Kitts & Nevis and from Portland.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Delhi 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe 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 Alice Coltrane to the funk kids.
I played it at Trash.
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 Minny Pops. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Urselle,
Q and Not U,
Dead Boys,
Jawbox,
The Real Kids,
Roger Hodgson,
Skaos,
Gil Scott Heron,
Susan Cadogan,
Livin' Joy,
Röyhkä ja Rättö ja Lehtisalo,
Intrusion,
Cluster,
Andrew Ashong & Theo Parrish,
Faust,
The Shadows of Knight,
Cabaret Voltaire,
Lucky Dragons,
Davy DMX,
Supertramp,
Delta 5,
Pete Rock & C.L. Smooth,
Kings Of Tomorrow,
Shuggie Otis,
Eddi Front,
Country Teasers,
Delon & Dalcan,
Kerri Chandler,
Heaven 17,
Joe Smooth,
Ultravox,
Red Lorry Yellow Lorry,
Infiniti,
Harry Pussy,
Josef K,
Rufus Thomas,
Jeru the Damaja,
David McCallum,
X-102,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sad Lovers and Giants,
Clear Light,
Gang Green,
Brand Nubian,
Lonnie Liston Smith,
Eurythmics,
Theoretical Girls,
Al Stewart,
Amon Düül II,
Interpol,
Frankie Knuckles,
Kango’s Stein Massive,
Brass Construction,
Siglo XX,
Rhythim Is Rhythim,
New Age Steppers,
Sugar Minott,
Manfred Mann's Earth Band,
Basic Channel,
Harmonia, Harmonia, Harmonia, Harmonia.
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.