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 Moldova and from London.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Beijing and New York.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Funky Four + One to the disco 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 John Coltrane. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Scott Walker 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 '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Eyeless In Gaza,
The Happenings,
Inner City,
Bobby Sherman,
Sparks,
Mary Jane Girls,
Barrington Levy,
Letta Mbulu,
Jimmy McGriff,
Lalann,
Smog,
Babytalk,
Aswad,
Gang Green,
Juan Atkins,
Banda Bassotti,
Vainqueur,
Gil Scott Heron,
The Cosmic Jokers,
Carl Craig,
Sällskapet,
Thompson Twins,
Ice-T,
Ponytail,
Minor Threat,
Alphaville,
Bill Near,
Essential Logic,
Big Daddy Kane,
John Coltrane,
Ajijia Myrayebe,
Jacques Brel,
Jesper Dahlback,
Deutsch Amerikanische Freundschaft,
Echospace,
Robert Görl,
Dual Sessions,
Stockholm Monsters,
Mad Mike,
Wally Richardson,
Agitation Free,
Pierre Henry,
kango's stein massive,
Notorious Big And Bone Thugs,
Colin Newman,
Liaisons Dangereuses,
The Associates,
The Fuzztones,
Deadbeat,
Lou Reed & John Cale,
Visage,
Maleditus Sound,
Blancmange,
Dave Gahan,
The Index,
Hardrive,
Siglo XX,
Sex Pistols,
Graham Central Station,
The Cure, The Cure, The Cure, The Cure.
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.