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 Uruguay and from Calgary.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1976.
I'm losing my edge.
To all the kids in Salvador and Toronto.
I'm losing my edge to the art-school Milan 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Minnie Riperton 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 Fad Gadget. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every the Soft Cell 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Art Ensemble Of Chicago,
Prince Buster,
Rhythm & Sound,
Agent Orange,
N.O.R.E. Featuring Pharrell,
Susan Cadogan,
Max Romeo,
The Fortunes,
Aloha Tigers,
Scientists,
Jesper Dahlbäck,
Sam Rivers,
Kenny Larkin,
Quadrant,
the Swans,
The Monochrome Set,
Peter & Gordon,
Alphaville,
Aswad,
Quando Quango,
Yazoo,
New Age Steppers,
Desert Stars,
Franke,
Ralphi Rosario,
Traffic Nightmare,
The Durutti Column,
Kas Product,
Can,
Kayak,
Oneida,
Toni Rubio,
Sonic Youth,
Banda Bassotti,
Man Parrish,
The Fuzztones,
Goldenarms,
Orchestral Manoeuvres in the Dark,
John Lydon,
Rosa Yemen,
Buzzcocks,
Rod Modell,
Howard Jones,
Eddi Front,
The Residents,
Godley & Creme,
Television Personalities,
London Community Gospel Choir,
The Selecter,
Nation of Ulysses,
Young Marble Giants,
Angry Samoans,
X-Ray Spex,
Mars,
Kool G Rap & DJ Polo,
The Stooges,
Gabor Szabo,
Gichy Dan,
Tropical Tobacco,
Beasts of Bourbon,
The Leaves,
Swans, Swans, Swans, Swans.
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.