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 United Kingdom and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Philadelphia 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 snare sounds with much patience.
I was there when Robert Palmer 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 Tom Boy to the grime kids.
I played it at the Hacienda.
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 Ornette Coleman. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Shuggie Otis,
OOIOO,
DJ Style,
Nation of Ulysses,
Laurel Aitken,
Bobby Womack,
Albert Ayler,
Kango’s Stein Massive,
Dr. Dre and Snoop Doggy Dog,
Warren Ellis,
the Normal,
Pylon,
Jimmy McGriff,
Tomorrow,
Scrapy,
Fluxion,
Throbbing Gristle,
The Fortunes,
Black Bananas,
Traffic Nightmare,
Rekid,
The Toasters,
Suicide,
Strawberry Alarm Clock,
Chris Corsano,
Dave Gahan,
Japan,
Gang of Four,
Unrelated Segments,
Moss Icon,
Angry Samoans,
Eyeless In Gaza,
Bob Dylan,
The Doors,
Steve Hackett,
A Certain Ratio,
Sound Behaviour,
Supertramp,
Television Personalities,
The Victims,
The Jesus and Mary Chain,
Monks,
Ten City,
The Stooges,
Ralphi Rosario,
Essential Logic,
Terrestrial Tones,
Ossler,
Barry Ungar,
Second Layer,
Aswad,
Susan Cadogan,
The Moody Blues,
The Young Rascals,
Red Lorry Yellow Lorry,
Ornette Coleman,
Howard Jones,
Ultimate Spinach,
Wolf Eyes,
Animal Collective,
Quando Quango,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.