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 Laos and from Madrid.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 The Black Dice to the techno kids.
I played it at the Hacienda.
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 Move. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Nation of Ulysses 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Vladislav Delay,
Ash Ra Tempel,
Model 500,
The Golliwogs,
Black Sheep,
The Stooges,
Eve St. Jones,
Wire,
The Wake,
Roy Ayers Ubiquity,
Qualms,
Icehouse,
Louis and Bebe Barron,
Donny Hathaway,
Slick Rick,
The Pretty Things,
Minnie Riperton,
DNA,
U.S. Maple,
The Searchers,
Moebius,
Terry Callier,
Intrusion,
Lalo Schifrin,
Maurizio,
The Zeros,
Pete Rock & C.L. Smooth,
Black Moon,
UT,
Urselle,
Andrew Hill,
Public Enemy,
Bill Near,
Yazoo,
Shuggie Otis,
Bob Dylan,
PIL,
Drexciya,
The Cosmic Jokers,
The Real Kids,
Juan Atkins,
Wally Richardson,
DJ Style,
the Human League,
John Holt,
Niagra,
Anakelly,
The Dead C,
Tomorrow,
Q and Not U,
Average White Band,
The Flesh Eaters,
Delon & Dalcan,
Rotary Connection,
The Music Machine,
Kauko Röyhkä ja Narttu,
Man Parrish,
Deutsch Amerikanische Freundschaft,
The Buckinghams,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.