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 Australia and from Seoul.
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 1970.
I'm losing my edge.
To all the kids in Delhi and Toronto.
I'm losing my edge to the art-school Bologna 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 theremin 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 Eyeless In Gaza 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 Nirvana. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Buckinghams 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Graham Central Station,
Marc Almond,
The Litter,
The Sisters of Mercy,
The Real Kids,
The Residents,
Can,
Joy Division,
The Seeds,
Newcleus,
The Mighty Diamonds,
The New Christs,
Minutemen,
Notorious Big And Bone Thugs,
Mad Mike,
Godley & Creme,
It's A Beautiful Day,
Intrusion,
The Barracudas,
Brass Construction,
John Coltrane,
Pharoah Sanders,
The Music Machine,
Orchestral Manoeuvres in the Dark,
Michelle Simonal,
Supertramp,
The Monochrome Set,
The Gladiators,
Minor Threat,
The Offenders,
Rakim,
Los Fastidios,
In Retrospect,
D'Angelo,
Ajijia Myrayebe,
Loose Ends,
The Detroit Cobras,
Black Sheep,
Boredoms,
Eric B and Rakim,
Kaleidoscope,
Thompson Twins,
Pantaleimon,
The Selecter,
Radiopuhelimet,
The Fire Engines,
Rosa Yemen,
The Birthday Party,
Jerry's Kids,
Archie Shepp,
The Raincoats,
Model 500,
Ralphi Rosario,
Deutsch Amerikanische Freundschaft,
Gastr Del Sol,
Danielle Patucci,
Funkadelic,
Derrick May,
Robert Görl,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.