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 Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1975.
I'm losing my edge.
To all the kids in Lille and Tehran.
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 synthesizer 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 Mojo Men to the rock kids.
I played it at the Spitz.
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 Gories. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Delta 5,
Flipper,
Zapp,
Basic Channel,
June Days,
Howard Jones,
Harpers Bizarre,
Japan,
The Names,
Be Bop Deluxe,
Glenn Branca,
The Real Kids,
Mark Hollis,
Deutsch Amerikanische Freundschaft,
Soft Cell,
Soft Machine,
Hashim,
The Vogues,
Infiniti,
Andrew Hill,
Siouxsie and the Banshees,
The Martian,
Monolake,
Das Ding,
Von Mondo,
Gil Scott Heron,
Charles Mingus,
The Misunderstood,
Sight & Sound,
Royal Trux,
Marshall Jefferson,
Erasure,
the Normal,
The Techniques,
Fad Gadget,
June of 44,
The Saints,
Chrome,
Man Eating Sloth,
Maleditus Sound,
Average White Band,
Fugazi,
Ronan,
Public Enemy,
Dennis Brown,
Graham Central Station,
MC5,
Minor Threat,
Absolute Body Control,
The Moleskins,
Pharaoh Sanders and the Fire Engines,
The Happenings,
Bronski Beat,
Pantaleimon,
Rapeman,
Eric Dolphy,
Easy Going,
Y Pants,
Chris Corsano,
Fluxion, Fluxion, Fluxion, Fluxion.
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.