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 Austria and from Milan.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Hong Kong 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 Alton Ellis to the crunk kids.
I played it at the Troubador.
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 Urselle. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Man Parrish,
Charles Mingus,
Supertramp,
Super Lover Cee & Casanova Rud,
Funky Four + One,
Judy Mowatt,
Yellowson,
Adolescents,
Siglo XX,
Maleditus Sound,
Robert Görl,
Stetsasonic,
Vaughan Mason & Crew,
Dead Boys,
Jacques Brel,
the Slits,
Soulsonic Force,
Jeff Mills,
Bronski Beat,
Prince Buster,
Traffic Nightmare,
La Düsseldorf,
Deadbeat,
The Stooges,
June of 44,
The Smoke,
Marshall Jefferson,
Tim Buckley,
Pet Shop Boys,
DJ Style,
Scientists,
the Human League,
The Gories,
James White and The Blacks,
Eddi Front,
Pulsallama,
John Foxx,
Masters at Work,
Tommy Roe,
Severed Heads,
Alphaville,
Pylon,
Danielle Patucci,
The Fortunes,
The Sound,
Bad Manners,
The Happenings,
Radio Birdman,
Dorothy Ashby,
Bobby Hutcherson,
Niagra,
Soft Machine,
Delon & Dalcan,
Suburban Knight,
David McCallum,
Fat Boys,
Pussy Galore,
Absolute Body Control,
the Swans,
Barbara Tucker,
Monolake, Monolake, Monolake, Monolake.
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.