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 Denmark and from Milan.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1969 to 1972.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Salvador 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 Captain Beefheart 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 the Normal to the dance 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 Agitation Free. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Sly & The Family Stone,
The Black Dice,
Wasted Youth,
The West Coast Pop Art Experimental Band,
Barclay James Harvest,
Red Lorry Yellow Lorry,
the Soft Cell,
Skarface,
Gang of Four,
Fela Kuti,
Curtis Mayfield,
Grandmaster Flash and the Furious Five,
Gabor Szabo,
Kenny Larkin,
Kango’s Stein Massive,
Fugazi,
The Fuzztones,
Hoover,
The Modern Lovers,
Cecil Taylor,
The Remains,
The Mighty Diamonds,
Roy Ayers,
The Offenders,
Public Image Ltd.,
Freddie Wadling,
Idris Muhammad,
London Community Gospel Choir,
Ash Ra Tempel,
Rufus Thomas,
Fifty Foot Hose,
Art Ensemble Of Chicago,
Jacques Brel,
Sun Ra,
PIL,
Scion,
Parry Music,
Donald Byrd,
Black Sheep,
EPMD,
Boz Scaggs,
Donny Hathaway,
Big Daddy Kane,
Lee Hazlewood,
Wolf Eyes,
Oblivians,
Theoretical Girls,
Babytalk,
Arcadia,
Reuben Wilson,
The Music Machine,
The Busters,
Maurizio,
Fat Boys,
Monolake,
The New Christs,
Nico,
Mark Hollis,
Heaven 17,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.