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 Australia and from Beijing.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
I'm losing my edge to the art-school Lagos 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Chocolate Watch Band to the crunk 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 Siglo XX. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
cv313,
The Golliwogs,
Vladislav Delay,
These Immortal Souls,
Sight & Sound,
Steve Hackett,
Blancmange,
Rotary Connection,
Kevin Saunderson,
Sparks,
Pere Ubu,
John Foxx,
The Flesh Eaters,
Althea and Donna,
Theoretical Girls,
Scott Walker,
Bobby Sherman,
Drive Like Jehu,
Gil Scott-Heron and Jamie xx,
Young Marble Giants,
The United States of America,
Fort Wilson Riot,
Barbara Tucker,
Brand Nubian,
FM Einheit,
Ajijia Myrayebe,
Skriet,
Chris Corsano,
Blossom Toes,
Das Ding,
Newcleus,
New Age Steppers,
David Axelrod,
Pantytec,
48th St. Collective,
Bobby Hutcherson,
Shuggie Otis,
The Sisters of Mercy,
The Move,
The Monks,
Intrusion,
The Last Poets,
Von Mondo,
Delon & Dalcan,
It's A Beautiful Day,
the Bar-Kays,
The Human League,
Freddie Wadling,
The American Breed,
Lungfish,
Soul II Soul,
Nas,
Ash Ra Tempel,
Echo & the Bunnymen,
Bauhaus,
Jeff Mills,
Arab on Radar,
The Stooges,
Maleditus Sound,
The Smoke,
Lonnie Liston Smith,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.