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 Vietnam 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 1978.
I'm losing my edge.
To all the kids in Halifax and Philadelphia.
I'm losing my edge to the art-school Bremen 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Ludus to the jazz 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 Big Daddy Kane. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Mark Hollis,
Slave,
Adolescents,
Dorothy Ashby,
Man Parrish,
Röyhkä ja Rättö ja Lehtisalo,
The Grass Roots,
The Sound,
Bang On A Can,
Monks,
James Chance & The Contortions,
Blake Baxter,
Simply Red,
Oblivians,
Soft Cell,
Negative Approach,
K-Klass,
The West Coast Pop Art Experimental Band,
Jawbox,
Swans,
Banda Bassotti,
Joensuu 1685,
Angels of Light & Akron/Family,
Flash Fearless,
Avey Tare's Slasher Flicks,
Tomorrow,
China Crisis,
Jimmy McGriff,
Panda Bear,
Neil Young,
These Immortal Souls,
Stiv Bators,
Gregory Isaacs,
Amon Düül II,
The Sisters of Mercy,
The Modern Lovers,
Erasure,
Minor Threat,
New Age Steppers,
Quantec,
The Doobie Brothers,
Gichy Dan,
Pylon,
The Neon Judgement,
Carl Craig,
Peter and Kerry,
Traffic Nightmare,
Yaz,
Orchestral Manoeuvres in the Dark,
Alison Limerick,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wire,
Kevin Saunderson,
Super Lover Cee & Casanova Rud,
OOIOO,
Sex Pistols,
Amon Düül,
This Heat,
Vladislav Delay,
Black Flag,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.