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 Afghanistan and from Johannesburg.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Houston.
I'm losing my edge to the art-school Philadelphia 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 synthesizer 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 Quantec 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 Camberwell Now. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Big Daddy Kane,
Thompson Twins,
Black Flag,
The Index,
Colin Newman,
Isaac Hayes,
Moby Grape,
Excepter,
the Soft Cell,
Goldenarms,
The Move,
The Detroit Cobras,
The Raincoats,
Mr. Review,
Ronnie Foster,
Pierre Henry,
Magazine,
Motorama,
Panda Bear,
Dead Boys,
Boogie Down Productions,
The Fortunes,
Lyres,
The Cosmic Jokers,
Scott Walker + Sunn O))),
Buzzcocks,
Gil Scott-Heron and Jamie xx,
Avey Tare's Slasher Flicks,
The Music Machine,
Smog,
Grauzone,
10cc,
Index,
Tommy Roe,
Donny Hathaway,
Nico,
L. Decosne,
Infiniti,
Television Personalities,
Sight & Sound,
Kaleidoscope,
Eddi Front,
Gil Scott-Heron & Brian Jackson,
the Sonics,
ABC,
Sun City Girls,
Oneida,
Fort Wilson Riot,
Beasts of Bourbon,
Arcadia,
Robert Hood,
David McCallum,
The Shadows of Knight,
Crash Course in Science,
Gastr Del Sol,
Fugazi,
Hashim,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Slackers,
David Bowie,
Nik Kershaw,
Kango’s Stein Massive,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.