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 Portugal and from London.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Paris and Glasgow.
I'm losing my edge to the art-school Spokane 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 Wire practice in a loft in Watford.
I was working on the mellotron 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 Marshall Jefferson to the grime kids.
I played it at Cafe Wha.
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 Fall. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Symarip,
Organ,
Alison Limerick,
Das Ding,
Kango’s Stein Massive,
Sister Nancy,
Deutsch Amerikanische Freundschaft,
Liliput,
Arthur Verocai,
Chris Corsano,
The Slackers,
Barclay James Harvest,
Dennis Brown,
The Gun Club,
Aural Exciters,
Dark Day,
Alphaville,
Marine Girls,
David Axelrod,
Young Marble Giants,
Desert Stars,
Cabaret Voltaire,
Maleditus Sound,
The J.B.'s,
Heavy D & The Boyz,
Maurizio,
Cameo,
Model 500,
Rosa Yemen,
Icehouse,
The Durutti Column,
The Doobie Brothers,
David McCallum,
Harpers Bizarre,
Vladislav Delay,
Sexual Harrassment,
Dead Boys,
Max Romeo,
Tubeway Army,
Skaos,
The Trojans,
JFA,
Moby Grape,
Television,
Mandrill,
Vaughan Mason & Crew,
Main Source,
The Peanut Butter Conspiracy,
Arab on Radar,
Jeru the Damaja,
Pere Ubu,
Rites of Spring,
OOIOO,
Lizzy Mercier Descloux,
Angry Samoans,
The Wake,
Crash Course in Science,
the Germs,
Roxy Music,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.