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 Spain and from Manila.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Bologna 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 spring reverb 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 Kenny Larkin to the electroclash kids.
I played it at the Astoria.
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 Janne Schatter. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Marvin Gaye 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Sad Lovers and Giants,
Kerrie Biddell,
Yusef Lateef,
Deepchord,
Kool G Rap & DJ Polo,
Essential Logic,
Supertramp,
Matthew Bourne,
Jacob Miller,
Can,
The Fuzztones,
Colin Newman,
The Slackers,
Peter Gordon & Love of Life Orchestra,
Cecil Taylor,
The Busters,
Todd Rundgren,
Major Organ And The Adding Machine,
Sarah Menescal,
Ultravox,
Kool Moe Dee,
Soft Cell,
Public Enemy,
Yellowson,
Grandmaster Flash and the Furious Five,
Dawn Penn,
DeepChord presents Echospace,
Barrington Levy,
Niagra,
The Stooges,
Scientists,
Jimmy McGriff,
Maleditus Sound,
The Velvet Underground,
Interpol,
Lalann,
AZ,
The Peanut Butter Conspiracy,
Lebanon Hanover,
Jesper Dahlbäck,
Eve St. Jones,
Siglo XX,
Al Stewart,
Index,
New York Dolls,
a-ha,
The Five Americans,
June of 44,
Circle Jerks,
Marvin Gaye,
John Lydon,
Vladislav Delay,
Amon Düül II,
Gabor Szabo,
Freddie Wadling,
Skaos,
The Skatalites,
Kauko Röyhkä ja Narttu,
Sunsets and Hearts,
The Human League,
Blossom Toes,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.