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 Ireland and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1973.
I'm losing my edge.
To all the kids in New York and Hong Kong.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 L. Decosne to the techno kids.
I played it at the 40 Watt.
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 The Walker Brothers. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your linndrum and bought a 808.
I hear that you and your band have sold your 808 and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Talk Talk,
Sexual Harrassment,
Byron Stingily,
Carl Craig,
Eden Ahbez,
Dark Day,
Pylon,
Mark Hollis,
Kaleidoscope,
ABC,
Television,
Lakeside,
Sound Behaviour,
Terry Callier,
Sparks,
Inner City,
Ten City,
Young Marble Giants,
Jesper Dahlbäck,
Roy Ayers,
Chris & Cosey,
Barrington Levy,
Gregory Isaacs,
The Seeds,
Bizarre Inc.,
Buzzcocks,
Bobby Hutcherson,
Bang on a Can All-Stars,
The Golliwogs,
U.S. Maple,
Scratch Acid,
The Wake,
the Normal,
Japan,
Blossom Toes,
Red Lorry Yellow Lorry,
The Fall,
Orchestral Manoeuvres in the Dark,
The Techniques,
Sam Rivers,
Hoover,
Spandau Ballet,
Wings,
Jawbox,
Parry Music,
Justin Hinds & The Dominoes,
Shuggie Otis,
Bootsy's Rubber Band,
Lalann,
The Doobie Brothers,
Goldenarms,
It's A Beautiful Day,
Dr. Dre and Snoop Doggy Dog,
MDC,
Panda Bear,
Kevin Saunderson,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.