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 United Kingdom and from Tokyo.
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 1971.
I'm losing my edge.
To all the kids in Taipei and Portland.
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 Buzzcocks practice in a loft in Bolton.
I was working on the arpeggiator 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 Camberwell Now to the grunge kids.
I played it at Cafe Wha.
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 Ultra Naté. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every David Axelrod 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
Pole,
The Litter,
ABBA,
John Cale,
London Community Gospel Choir,
Aloha Tigers,
Man Eating Sloth,
Anakelly,
The Techniques,
Rahsaan Roland Kirk,
Gerry Rafferty,
Duran Duran,
The Wake,
Fela Kuti,
Jeff Mills,
Technova,
James White and The Blacks,
Crime,
The Real Kids,
Jesper Dahlback,
Peter & Gordon,
Carl Craig,
Kool G Rap & DJ Polo,
The Red Krayola,
Black Moon,
the Human League,
Joensuu 1685,
Lucky Dragons,
Fifty Foot Hose,
Accadde A,
The Move,
Ituana,
Index,
Ice-T,
the Bar-Kays,
David Bowie,
Parry Music,
Avey Tare's Slasher Flicks,
Panda Bear,
Porter Ricks,
Delta 5,
A Certain Ratio,
Lou Reed & Metallica,
Deepchord,
The Monochrome Set,
Big Daddy Kane,
June Days,
Agitation Free,
Sight & Sound,
Skarface,
Ten City,
Sexual Harrassment,
Danielle Patucci,
The Misunderstood,
The Last Poets,
Colin Newman,
New Order,
Black Pus,
Joey Negro,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.