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 Mexico and from Delhi.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Houston 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 1975 at the first Throbbing Gristle practice in a loft in 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 Dark Day to the grime 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 Hasil Adkins. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delta 5,
Kango’s Stein Massive,
Kerrie Biddell,
The Real Kids,
The Blackbyrds,
The Vogues,
Zapp,
10cc,
Gil Scott Heron,
Boogie Down Productions,
Pantaleimon,
Sandy B,
Scratch Acid,
The Index,
Supertramp,
Hoover,
Sound Behaviour,
Jacob Miller,
L. Decosne,
Juan Atkins,
The Moleskins,
ABBA,
Peter & Gordon,
Hashim,
Brass Construction,
Agitation Free,
Pete Rock & C.L. Smooth,
Captain Beefheart & His Magic Band,
Danielle Patucci,
The Young Rascals,
Godley & Creme,
Nick Fraelich,
Black Moon,
Ronan,
Second Layer,
Suburban Knight,
Graham Central Station,
Pharoah Sanders,
Scrapy,
The Fall,
Public Image Ltd.,
Man Eating Sloth,
Derrick Morgan,
Crispian St. Peters,
Little Man,
Hasil Adkins,
Buzzcocks,
Cluster,
Mandrill,
Joensuu 1685,
Charles Mingus,
The Sisters of Mercy,
Infiniti,
R.M.O.,
The Mighty Diamonds,
Kauko Röyhkä ja Narttu,
Surgeon,
June Days,
Make Up,
Los Fastidios,
Theoretical Girls,
the Human League,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.