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 Mongolia and from Copenhagen.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
I'm losing my edge to the art-school Sao Paulo 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 linndrum 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 Bill Wells to the crunk kids.
I played it at the Astoria.
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 The Knickerbockers. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics 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?
Notorious Big And Bone Thugs,
Minutemen,
Amon Düül,
Blancmange,
X-Ray Spex,
The Velvet Underground,
The Mighty Diamonds,
Icehouse,
Dead Boys,
Bad Manners,
The Flesh Eaters,
Kevin Saunderson,
John Holt,
Minny Pops,
The Human League,
The Fortunes,
Ultravox,
Brick,
Infiniti,
Piero Umiliani,
Erasure,
The Stooges,
Rotary Connection,
Alphaville,
Masters at Work,
Jandek,
Skriet,
Barrington Levy,
Godley & Creme,
Organ,
James White and The Blacks,
Super Lover Cee & Casanova Rud,
Shoche,
Adolescents,
The Saints,
Camron Feat. Memphis Bleek And Beenie Seigel,
Thompson Twins,
Royal Trux,
Parry Music,
The Red Krayola,
Japan,
Ultimate Spinach,
Tommy Roe,
Stereo Dub,
Cal Tjader,
The Moody Blues,
Aloha Tigers,
Eli Mardock,
Camberwell Now,
Darondo,
Basic Channel,
Faust,
Bauhaus,
Pharaoh Sanders and the Fire Engines,
Juan Atkins,
Pharoah Sanders,
Buzzcocks,
PIL,
Toni Rubio,
Bill Near,
Deakin,
Ash Ra Tempel,
the Slits, the Slits, the Slits, the Slits.
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.