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 Belize and from Delhi.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Bremen and Houston.
I'm losing my edge to the art-school London 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 Warsaw to the rock kids.
I played it at the Crocodile.
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 Matthew Bourne. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
David Axelrod,
Ohio Players,
Traffic Nightmare,
H. Thieme,
The Cosmic Jokers,
Girls At Our Best!,
The Wake,
Aaron Thompson,
Robert Görl,
Eric B and Rakim,
Kerri Chandler,
F. McDonald,
Terrestrial Tones,
Heaven 17,
Easy Going,
Pierre Henry,
The Gories,
Pete Rock & C.L. Smooth,
Frankie Knuckles,
Marcia Griffiths,
The Standells,
Peter & Gordon,
B.T. Express,
Technova,
John Foxx,
Procol Harum,
Black Bananas,
Q and Not U,
D'Angelo,
The Techniques,
Neu!,
Barclay James Harvest,
The Fortunes,
Cluster,
Pagans,
Connie Case,
Agent Orange,
Kenny Larkin,
Larry & the Blue Notes,
Isaac Hayes,
Quantec,
Robert Wyatt,
Ludus,
Althea and Donna,
Nico,
Arthur Verocai,
The Selecter,
a-ha,
The Victims,
Stetsasonic,
Grandmaster Flash,
Camron Feat. Jay Z And Juelz,
It's A Beautiful Day,
Suburban Knight,
Newcleus,
Piero Umiliani,
Monolake,
Jeff Mills,
Babytalk,
Bootsy Collins,
The Star Department,
Gang Green,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.