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 Azerbaijan and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1976.
I'm losing my edge.
To all the kids in Hong Kong and Calgary.
I'm losing my edge to the art-school Toronto 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 marimba sounds with much patience.
I was there when Lou Reed 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 Japan to the grunge kids.
I played it at the Troubador.
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 Grandmaster Flash and the Furious Five. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Country Teasers record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Motorama,
Mad Mike,
The Velvet Underground,
48th St. Collective,
Procol Harum,
Agitation Free,
Soft Machine,
Ronnie Foster,
Chris & Cosey,
Bush Tetras,
Judy Mowatt,
Porter Ricks,
Country Joe & The Fish,
R.M.O.,
a-ha,
Rekid,
Altered Images,
Jacques Brel,
The Divine Comedy,
The Chocolate Watch Band,
A Certain Ratio,
James White and The Blacks,
Ultra Naté,
Bob Dylan,
Eyeless In Gaza,
Monks,
Schoolly D,
Lalo Schifrin,
The Victims,
Pantaleimon,
Rotary Connection,
Scott Walker + Sunn O))),
The Barracudas,
Model 500,
Index,
Lou Reed & John Cale,
Cluster,
David Bowie,
Monolake,
Quando Quango,
Bill Wells,
Smog,
Spoonie Gee,
Sixth Finger,
Angry Samoans,
Don Cherry,
AZ,
Ronan,
Joe Finger,
The Real Kids,
New York Dolls,
Orchestral Manoeuvres in the Dark,
B.T. Express,
Arthur Verocai,
Scratch Acid,
Major Organ And The Adding Machine,
Amazonics,
It's A Beautiful Day,
John Lydon,
The Doobie Brothers,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.