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 El Salvador and from Madrid.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1974.
I'm losing my edge.
To all the kids in Portland and Beijing.
I'm losing my edge to the art-school Toronto 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 mellotron 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 Supertramp to the punk 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 Grauzone. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Avey Tare 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
The Electric Prunes,
Pole,
The Dead C,
Cluster,
Banda Bassotti,
Super Lover Cee & Casanova Rud,
Stereo Dub,
Crispian St. Peters,
Grandmaster Flash and the Furious Five,
the Sonics,
Pylon,
Bootsy's Rubber Band,
Wings,
John Holt,
Khruangbin,
Yusef Lateef,
The Moleskins,
Buzzcocks,
Gil Scott-Heron and Jamie xx,
The Busters,
Neu!,
Country Teasers,
Wasted Youth,
Pierre Henry,
Kerri Chandler,
Tom Boy,
Rahsaan Roland Kirk,
Matthew Bourne,
Barry Ungar,
Eddi Front,
Matthew Halsall,
These Immortal Souls,
The Invisible,
Camron Feat. Memphis Bleek And Beenie Seigel,
Piero Umiliani,
Desert Stars,
The Techniques,
Mantronix,
The Skatalites,
Harry Pussy,
Ten City,
KRS-One,
The Durutti Column,
Delta 5,
Ajijia Myrayebe,
Erykah Badu,
Nick Cave & The Bad Seeds,
Second Layer,
The Blackbyrds,
Nils Olav,
The Fall,
Roy Ayers,
Surgeon,
Q65,
Terrestrial Tones,
Albert Ayler,
Moby Grape,
The Vogues,
Jacques Brel,
Cybotron,
Lindisfarne,
Liaisons Dangereuses,
Ultravox,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.