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 Gabon and from Copenhagen.
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 1979.
I'm losing my edge.
To all the kids in Salvador and Lagos.
I'm losing my edge to the art-school New York 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Warsaw to the grunge 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 48th St. Collective. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Kevin Saunderson,
Inner City,
AZ,
Surgeon,
Camouflage,
Zero Boys,
a-ha,
London Community Gospel Choir,
Ultimate Spinach,
David McCallum,
Donny Hathaway,
Lungfish,
Sight & Sound,
Brass Construction,
Agent Orange,
Black Sheep,
Duran Duran,
Erasure,
JFA,
Nico,
Cymande,
Fear,
The Buckinghams,
Underground Resistance,
Morten Harket,
Sunsets and Hearts,
Newcleus,
Delon & Dalcan,
The Gladiators,
Icehouse,
Andrew Ashong & Theo Parrish,
The Invisible,
The Five Americans,
Traffic Nightmare,
Chrome,
Lucky Dragons,
Zapp,
Dennis Brown,
Rod Modell,
Little Man,
Warsaw,
Gary Puckett & The Union Gap,
The Evens,
Robert Hood,
Lou Reed & Metallica,
Au Pairs,
The Residents,
Jacob Miller,
Quantec,
Rekid,
Bobbi Humphrey,
Mary Jane Girls,
Roy Ayers Ubiquity,
The Detroit Cobras,
Jawbox,
X-Ray Spex,
Skarface,
Marshall Jefferson,
Sun Ra Arkestra,
K-Klass,
Grauzone,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.