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 Monaco and from Bremen.
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 1979.
I'm losing my edge.
To all the kids in Winnipeg and Paris.
I'm losing my edge to the art-school Portland 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 linndrum 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 Andrew Ashong & Theo Parrish to the grunge kids.
I played it at the Astoria.
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 West Coast Pop Art Experimental Band. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Bizarre Inc. 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Eli Mardock,
Camouflage,
Maurizio,
Delon & Dalcan,
John Holt,
The Saints,
LL Cool J,
The Toasters,
Surgeon,
The Beau Brummels,
Simply Red,
Cabaret Voltaire,
Television Personalities,
Gil Scott Heron,
Kenny Larkin,
Avey Tare's Slasher Flicks,
Lizzy Mercier Descloux,
Lalo Schifrin,
Leonard Cohen,
The Moleskins,
Saccharine Trust,
Urselle,
Rapeman,
Liaisons Dangereuses,
Michelle Simonal,
Art Ensemble Of Chicago,
Mr. Review,
Guru Guru,
Roxette,
Ornette Coleman,
Curtis Mayfield,
Mark Hollis,
The Fuzztones,
Main Source,
The Fugs,
Marshall Jefferson,
Intrusion,
Television,
Wolf Eyes,
Mad Mike,
Angry Samoans,
The Blues Magoos,
The Evens,
Bob Dylan,
Procol Harum,
The Barracudas,
Throbbing Gristle,
DeepChord presents Echospace,
Thee Headcoats,
Gong,
The Seeds,
Glenn Branca,
Jandek,
The Velvet Underground,
Carl Craig,
The Grass Roots,
Inner City,
Boz Scaggs,
Spandau Ballet,
Warsaw,
Lou Christie,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.