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 Nigeria and from Philadelphia.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
I'm losing my edge to the art-school Hong Kong 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 snare 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 Wally Richardson to the electroclash kids.
I played it at the Crocodile.
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 Swans. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Reuben Wilson,
The Mojo Men,
Symarip,
Second Layer,
Visionaries,LMNO, T- Love & Iriscience,
Quando Quango,
Ponytail,
The Skatalites,
T.S.O.L.,
A Certain Ratio,
Soft Cell,
Depeche Mode,
Skarface,
Zero Boys,
Cecil Taylor,
Circle Jerks,
The Gun Club,
World's Most,
Rakim,
Lou Reed & John Cale,
B.T. Express,
Masters at Work,
Porter Ricks,
Maleditus Sound,
Terrestrial Tones,
Marc Romboy vs. Booka Shade,
the Bar-Kays,
Jandek,
John Lydon,
Larry & the Blue Notes,
Japan,
Simply Red,
John Coltrane,
Siouxsie and the Banshees,
Bill Wells,
Jawbox,
Dennis Brown,
Jeff Mills,
Barrington Levy,
Grandmaster Flash,
Banda Bassotti,
Jacques Brel,
The Smoke,
Brothers Johnson,
The Real Kids,
Radiohead,
the Germs,
The Monochrome Set,
DJ Sneak,
The Moleskins,
KRS-One,
The Litter,
Marine Girls,
Junior Murvin,
Visage,
Pet Shop Boys,
Pussy Galore,
The Electric Prunes,
These Immortal Souls,
Drive Like Jehu,
Malaria!,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.