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 Poland and from Calgary.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Shanghai.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Walker Brothers to the grime 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 Chris & Cosey. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Leonard Cohen 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
The Moody Blues,
Al Stewart,
Joe Smooth,
Franke,
Aswad,
Sonny Sharrock,
Ronnie Foster,
Minutemen,
Iggy Pop,
the Slits,
Lebanon Hanover,
Black Flag,
Theoretical Girls,
The Real Kids,
Mission of Burma,
Traffic Nightmare,
Thompson Twins,
The Men They Couldn't Hang,
Simply Red,
cv313,
Siouxsie and the Banshees,
CMW,
Goldenarms,
Soft Machine,
Warsaw,
Half Japanese,
Schoolly D,
A Flock of Seagulls,
Little Man,
The Monks,
Jeff Mills,
Inner City,
Jeru the Damaja,
Albert Ayler,
Grandmaster Flash and the Furious Five,
Davy DMX,
Supertramp,
Hasil Adkins,
the Bar-Kays,
Blake Baxter,
Black Moon,
Strawberry Alarm Clock,
Kas Product,
Sound Behaviour,
Grandmaster Flash,
Robert Hood,
Peter & Gordon,
Sly & The Family Stone,
Sticky Fingaz feat. Raekwon,
Alphaville,
One Last Wish,
Lindisfarne,
AZ,
Jimmy McGriff,
T. Rex,
Camberwell Now,
Black Pus,
Cal Tjader,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.