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 Niger and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Accra 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 theremin 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 Grauzone to the disco kids.
I played it at the Roxy.
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 Fortunes. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every The Martian 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 '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
Curtis Mayfield,
Terrestrial Tones,
Ajijia Myrayebe,
Rakim,
Albert Ayler,
Arcadia,
Half Japanese,
Desert Stars,
Easy Going,
Nirvana,
The Moody Blues,
Johnny Osbourne,
Al Stewart,
The Shadows of Knight,
Hasil Adkins,
Procol Harum,
Fela Kuti,
Sunsets and Hearts,
Warren Ellis,
Cheater Slicks,
Gian Franco Pienzio,
De La Soul & Jungle Brothers,
Grandmaster Flash and the Furious Five,
Nik Kershaw,
La Düsseldorf,
B.T. Express,
Jeru the Damaja,
Guru Guru,
Unwound,
Major Organ And The Adding Machine,
Stetsasonic,
Manfred Mann's Earth Band,
Symarip,
The Divine Comedy,
Nils Olav,
Spandau Ballet,
The Doors,
Bad Manners,
Matthew Bourne,
Excepter,
Visage,
Steve Hackett,
Echo & the Bunnymen,
Subhumans,
Lungfish,
kango's stein massive,
The Angels of Light,
The Monks,
Sound Behaviour,
Jesper Dahlback,
Los Fastidios,
Godley & Creme,
Sly & The Family Stone,
Mark Hollis,
Derrick May,
Lebanon Hanover,
Fifty Foot Hose,
Matthew Halsall,
Agent Orange,
Lafayette Afro Rock Band,
Ten City,
The American Breed, The American Breed, The American Breed, The American Breed.
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.