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 Cyprus and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Accra and Shanghai.
I'm losing my edge to the art-school Salvador 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 Grauzone to the punk kids.
I played it at Cafe Wha.
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 Crispy Ambulance tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Jerry's Kids,
The Gap Band,
Gary Puckett & The Union Gap,
LL Cool J,
Darondo,
Funkadelic,
Hoover,
Oblivians,
Au Pairs,
ABC,
Ultravox,
The Evens,
Pantaleimon,
Mary Jane Girls,
The Knickerbockers,
The Sisters of Mercy,
Clear Light,
Sugar Minott,
Bluetip,
The Gories,
Spoonie Gee,
Brass Construction,
Glambeats Corp.,
Sound Behaviour,
Susan Cadogan,
Röyhkä ja Rättö ja Lehtisalo,
X-101,
Underground Resistance,
The Selecter,
Pulsallama,
Warsaw,
Justin Hinds & The Dominoes,
Joy Division,
Average White Band,
Josef K,
Roger Hodgson,
Deakin,
Soft Cell,
Scion,
Masters at Work,
Deutsch Amerikanische Freundschaft,
Sparks,
Roxette,
Davy DMX,
Simply Red,
The West Coast Pop Art Experimental Band,
Tropical Tobacco,
the Slits,
Tres Demented,
Absolute Body Control,
Sex Pistols,
Ludus,
Young Marble Giants,
World's Most,
Panda Bear,
Radiopuhelimet,
The Last Poets,
Index,
Cybotron,
Scan 7,
Sight & Sound,
Gang Gang Dance,
DJ Style, DJ Style, DJ Style, DJ Style.
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.