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 Andorra and from Tehran.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Taipei.
I'm losing my edge to the art-school Lyon 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Sarah Menescal to the grunge kids.
I played it at CBGB's.
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 Jerry Gold Smith. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Suburban Knight 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Kenny Larkin,
Susan Cadogan,
Soul Sonic Force,
Aloha Tigers,
Stiv Bators,
Blossom Toes,
Pulsallama,
Simply Red,
Manfred Mann's Earth Band,
Brand Nubian,
Maleditus Sound,
Aaron Thompson,
Rekid,
Siouxsie and the Banshees,
Amon Düül II,
Sonny Sharrock,
David Bowie,
Kool G Rap & DJ Polo,
Depeche Mode,
Harmonia,
Magazine,
Skarface,
Gary Puckett & The Union Gap,
Teenage Jesus and the Jerks,
Roger Hodgson,
Morten Harket,
Graham Central Station,
Pharaoh Sanders and the Fire Engines,
Zero Boys,
Neil Young,
Pantytec,
The Durutti Column,
cv313,
Joyce Sims,
Swans,
Rakim,
Eric Copeland,
Interpol,
The Mummies,
The Divine Comedy,
Model 500,
Audionom,
Johnny Clarke,
The Gories,
The Zeros,
Judy Mowatt,
Infiniti,
Faust,
Alphaville,
Dennis Brown,
London Community Gospel Choir,
Crooked Eye,
Stockholm Monsters,
Notorious Big And Bone Thugs,
The Birthday Party,
The Cramps,
Funkadelic,
Lalo Schifrin,
The Cure,
Fatback Band,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.