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 Fiji and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1975.
I'm losing my edge.
To all the kids in Toronto and Mexico City.
I'm losing my edge to the art-school Tehran 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Outsiders to the grime 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 Ronnie Foster. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
June Days,
MDC,
New Age Steppers,
Pole,
Mars,
Marcia Griffiths,
Kauko Röyhkä ja Narttu,
Matthew Bourne,
Scott Walker,
Shuggie Otis,
Harry Pussy,
Albert Ayler,
Gil Scott-Heron & Brian Jackson,
Wire,
Blossom Toes,
Cabaret Voltaire,
Chris Corsano,
John Coltrane,
Groovy Waters,
Mad Mike,
The Royal Family And The Poor,
Siglo XX,
Rufus Thomas,
Alison Limerick,
Cheater Slicks,
The Barracudas,
The Seeds,
Underground Resistance,
Pulsallama,
The J.B.'s,
Laurel Aitken,
Marc Almond,
These Immortal Souls,
Jeru the Damaja,
Frankie Knuckles,
Lalann,
The Saints,
Country Teasers,
Cameo,
Dark Day,
Youth Brigade,
Skarface,
Godley & Creme,
Davy DMX,
the Soft Cell,
Bobby Womack,
Throbbing Gristle,
De La Soul & Jungle Brothers,
Pantaleimon,
Banda Bassotti,
Essential Logic,
Soft Cell,
Carl Craig,
Tim Buckley,
Agent Orange,
Rosa Yemen,
Slave,
Organ,
Pierre Henry,
Fugazi,
Lindisfarne,
Joey Negro,
The Star Department, The Star Department, The Star Department, The Star Department.
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.