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 Iran and from New York.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school Lagos 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Minor Threat to the techno kids.
I played it at the Spitz.
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 Mary Jane Girls. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal dance 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 a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Siouxsie and the Banshees,
Harpers Bizarre,
Yazoo,
Cluster,
Lizzy Mercier Descloux,
The Flesh Eaters,
Kango’s Stein Massive,
Sun City Girls,
One Last Wish,
Sugar Minott,
New Order,
Drive Like Jehu,
Letta Mbulu,
Fatback Band,
The Trojans,
Supertramp,
Pulsallama,
Scan 7,
Neu!,
Joensuu 1685,
Tim Buckley,
Hoover,
Scratch Acid,
the Bar-Kays,
June of 44,
The Shadows of Knight,
Roxette,
The Human League,
The Seeds,
The Real Kids,
The Skatalites,
Ten City,
Circle Jerks,
Skaos,
Bizarre Inc.,
Art Ensemble Of Chicago,
Strawberry Alarm Clock,
Suicide,
Carl Craig,
Susan Cadogan,
Gong,
Joy Division,
Andrew Hill,
Tom Boy,
John Holt,
The Invisible,
Yaz,
X-101,
Roy Ayers,
the Association,
Half Japanese,
Symarip,
The Divine Comedy,
Barbara Tucker,
Beasts of Bourbon,
These Immortal Souls,
Sarah Menescal,
Scrapy,
UT,
Thompson Twins,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.