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 Tajikistan and from Johannesburg.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Halifax and Woodstock.
I'm losing my edge to the art-school London 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Roxette to the grime kids.
I played it at the Crocodile.
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 Colin Newman. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Letta Mbulu 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Fort Wilson Riot,
Au Pairs,
Hardrive,
Minnie Riperton,
Desert Stars,
Selector Dub Narcotic,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Smoke,
Japan,
The Standells,
Supertramp,
Kool G Rap & DJ Polo,
Crime,
Pere Ubu,
Rhythm & Sound,
The Black Dice,
Robert Wyatt,
Moss Icon,
Throbbing Gristle,
Fugazi,
Alison Limerick,
Spandau Ballet,
Matthew Bourne,
Siglo XX,
Avey Tare,
Major Organ And The Adding Machine,
Heaven 17,
Joyce Sims,
Mission of Burma,
Cybotron,
Tim Buckley,
Art Ensemble Of Chicago,
Aloha Tigers,
New Order,
Camron Feat. Jay Z And Juelz,
The Cramps,
Morten Harket,
Iggy Pop,
Bronski Beat,
Mark Hollis,
48th St. Collective,
Ohio Players,
Glambeats Corp.,
Stockholm Monsters,
Flamin' Groovies,
Arthur Verocai,
Tears for Fears,
This Heat,
Fela Kuti,
Main Source,
Connie Case,
Piero Umiliani,
Lungfish,
Pole,
Terry Callier,
The Peanut Butter Conspiracy,
Man Eating Sloth,
John Lydon,
the Swans,
The Litter, The Litter, The Litter, The Litter.
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.