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 Cape Verde and from Bremen.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school Madrid 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb 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 Matthew Bourne to the disco kids.
I played it at Trash.
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 Dave Clark Five. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your guitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
The Royal Family And The Poor,
Jeff Mills,
Vladislav Delay,
Scrapy,
Angels of Light & Akron/Family,
Archie Shepp,
Andrew Ashong & Theo Parrish,
Flash Fearless,
Public Image Ltd.,
Lucky Dragons,
The Martian,
Can,
The Young Rascals,
Andrew Hill,
Echo & the Bunnymen,
Lakeside,
Peter Gordon & Love of Life Orchestra,
Trumans Water,
The Residents,
Pussy Galore,
Vainqueur,
Swans,
Johnny Clarke,
Monolake,
Livin' Joy,
Bang On A Can,
Ossler,
ABC,
Index,
The Music Machine,
Mr. Review,
Nils Olav,
Flamin' Groovies,
Rakim,
B.T. Express,
The Gun Club,
Dave Gahan,
Roxy Music,
Hoover,
Roy Ayers,
Bobbi Humphrey,
Smog,
Bobby Womack,
Franke,
Scratch Acid,
Intrusion,
Oblivians,
Tim Buckley,
Electric Light Orchestra,
Moebius,
Ash Ra Tempel,
Rufus Thomas,
Kango’s Stein Massive,
Erykah Badu,
Arthur Verocai,
DJ Sneak,
Circle Jerks,
Slick Rick,
Roy Ayers Ubiquity,
Theoretical Girls,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.