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 Guyana and from Portland.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Columbus 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 guitar 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 Motorama to the rock kids.
I played it at the Roxy.
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 Barry Ungar. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
June Days,
Susan Cadogan,
Pole,
Heavy D & The Boyz,
Kevin Saunderson,
Deadbeat,
Marc Almond,
Basic Channel,
Roxette,
Swell Maps,
Terrestrial Tones,
Bauhaus,
The Mighty Diamonds,
Idris Muhammad,
The Leaves,
Ludus,
Cluster,
The Moleskins,
The Remains,
UT,
Warren Ellis,
48th St. Collective,
Throbbing Gristle,
Alison Limerick,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jawbox,
Howard Jones,
Roy Ayers,
Arcadia,
Sound Behaviour,
Tomorrow,
The Buckinghams,
Supertramp,
Cecil Taylor,
Urselle,
Pussy Galore,
Fear,
The Knickerbockers,
Kings Of Tomorrow,
The Doobie Brothers,
Country Teasers,
Gregory Isaacs,
Little Man,
Gerry Rafferty,
Monks,
Kurtis Blow,
Masters at Work,
Todd Rundgren,
Radio Birdman,
Robert Görl,
The Litter,
Skriet,
Gastr Del Sol,
Judy Mowatt,
Roger Hodgson,
Massinfluence,
Japan,
Sun Ra,
Lindisfarne,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.