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 Manchester.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school London 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro 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 Robert Wyatt to the dance 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 The Saints. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Johnny Osbourne 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
New York Dolls,
John Foxx,
The Modern Lovers,
Leonard Cohen,
Skarface,
Q and Not U,
Liaisons Dangereuses,
Jacques Brel,
Amon Düül II,
Das Ding,
Mandrill,
The Mojo Men,
DJ Style,
Simply Red,
Pylon,
Chris & Cosey,
Sparks,
Television,
Suburban Knight,
Fear,
Eric Copeland,
De La Soul & Jungle Brothers,
Silicon Teens,
Gregory Isaacs,
The Selecter,
Skriet,
The Knickerbockers,
Ten City,
Eric B and Rakim,
Robert Görl,
Bobby Sherman,
The Smiths,
Steve Hackett,
Ultra Naté,
Ohio Players,
Joyce Sims,
Idris Muhammad,
Tim Buckley,
The Pop Group,
Pierre Henry,
Hoover,
Ultravox,
Barrington Levy,
K-Klass,
Josef K,
Soulsonic Force,
Newcleus,
Carl Craig,
OOIOO,
Rufus Thomas,
Alphaville,
Visionaries,LMNO, T- Love & Iriscience,
Justin Hinds & The Dominoes,
Reuben Wilson,
Index,
the Sonics,
Suicide,
Clear Light,
Byron Stingily,
Black Sheep,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.