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 Tajikistan and from Manila.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Portland 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Porter Ricks to the disco kids.
I played it at the Astoria.
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 Hashim. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Mars,
Procol Harum,
Q and Not U,
ABC,
Kas Product,
Captain Beefheart & His Magic Band,
Fatback Band,
48th St. Collective,
Throbbing Gristle,
The Moody Blues,
The Walker Brothers,
Mark Hollis,
Chris & Cosey,
The Dave Clark Five,
Pylon,
Boz Scaggs,
Babytalk,
Vladislav Delay,
The Wake,
Make Up,
Todd Rundgren,
The Leaves,
Brand Nubian,
Kayak,
Robert Görl,
Rekid,
Pussy Galore,
Carl Craig,
The Fire Engines,
Justin Hinds & The Dominoes,
Grauzone,
Hashim,
The Smoke,
Circle Jerks,
Lyres,
David McCallum,
Masters at Work,
Radio Birdman,
Severed Heads,
Fugazi,
Warsaw,
Gary Puckett & The Union Gap,
Ultravox,
MC5,
The Moleskins,
The Searchers,
Loose Ends,
Brothers Johnson,
Connie Case,
Bronski Beat,
Aaron Thompson,
Hoover,
Bobby Sherman,
Don Cherry,
Danielle Patucci,
Flash Fearless,
Lou Reed & John Cale,
The Barracudas,
Neil Young,
Rotary Connection,
The Slackers,
Fluxion,
Half Japanese,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.