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 Turkmenistan 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 1961 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Calgary.
I'm losing my edge to the art-school Lyon 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Man Eating Sloth to the funk kids.
I played it at Trash.
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 Scion. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Guru Guru 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
The Music Machine,
The Neon Judgement,
The Alarm Clocks,
Erasure,
the Sonics,
Cameo,
kango's stein massive,
Scrapy,
Minor Threat,
Peter & Gordon,
Kool Moe Dee,
Robert Görl,
Tropical Tobacco,
Ludus,
Erykah Badu,
Chris & Cosey,
Bobbi Humphrey,
A Flock of Seagulls,
Camberwell Now,
The Shadows of Knight,
The Fuzztones,
Susan Cadogan,
Vladislav Delay,
Laurel Aitken,
Alison Limerick,
Shoche,
Rites of Spring,
The J.B.'s,
Moebius,
Soul II Soul,
The Kinks,
David Axelrod,
Masters at Work,
the Human League,
The Sisters of Mercy,
Public Image Ltd.,
Piero Umiliani,
Notorious Big And Bone Thugs,
World's Most,
Wolf Eyes,
X-Ray Spex,
A Certain Ratio,
Black Bananas,
The Birthday Party,
Arab on Radar,
Albert Ayler,
Ultravox,
Nick Cave & The Bad Seeds,
Gian Franco Pienzio,
Hardrive,
Negative Approach,
Althea and Donna,
Camouflage,
Pete Rock & C.L. Smooth,
U.S. Maple,
Cabaret Voltaire,
Neu!,
Banda Bassotti,
Absolute Body Control,
The Velvet Underground,
The Fire Engines,
Amon Düül II,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.