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 Congo and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Sao Paulo and Woodstock.
I'm losing my edge to the art-school Cairo 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 arpeggiator 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 Scott Walker to the techno kids.
I played it at the Troubador.
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 Gun Club. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Visionaries,LMNO, T- Love & Iriscience,
Girls At Our Best!,
The Knickerbockers,
The Count Five,
Heaven 17,
Audionom,
Ultimate Spinach,
Lindisfarne,
Theoretical Girls,
Harry Pussy,
Japan,
Barbara Tucker,
Stereo Dub,
Kerri Chandler,
Man Eating Sloth,
Wings,
Goldenarms,
Peter & Gordon,
Accadde A,
Eve St. Jones,
Kurtis Blow,
Icehouse,
Larry & the Blue Notes,
Delon & Dalcan,
The United States of America,
Oppenheimer Analysis,
The Smoke,
Basic Channel,
Eyeless In Gaza,
Barrington Levy,
F. McDonald,
Matthew Halsall,
Suburban Knight,
D'Angelo,
Joe Finger,
Echospace,
Ituana,
Jerry Gold Smith,
48th St. Collective,
Smog,
James White and The Blacks,
Ultra Naté,
The Cowsills,
Bill Near,
X-102,
Richard Hell and the Voidoids,
Warsaw,
June Days,
Faraquet,
Angry Samoans,
It's A Beautiful Day,
Unrelated Segments,
Gastr Del Sol,
Dual Sessions,
Swell Maps,
the Slits,
Jesper Dahlbäck,
Electric Prunes,
Young Marble Giants,
Alphaville,
Bronski Beat,
The Offenders, The Offenders, The Offenders, The Offenders.
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.