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 Russia and from Halifax.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school Madrid 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 Neu! to the techno kids.
I played it at Cafe Wha.
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 DNA. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Rites of Spring,
Jeru the Damaja,
The Standells,
Monolake,
Tom Boy,
Cameo,
The Golliwogs,
Banda Bassotti,
Quando Quango,
The Modern Lovers,
Black Moon,
Slick Rick,
The Divine Comedy,
Pierre Henry,
Gang of Four,
The Sonics,
The Searchers,
Public Image Ltd.,
Electric Light Orchestra,
This Heat,
Bizarre Inc.,
Kings Of Tomorrow,
MDC,
Barry Ungar,
Connie Case,
R.M.O.,
Lalann,
Sister Nancy,
The Evens,
Altered Images,
Vaughan Mason & Crew,
Aloha Tigers,
Echospace,
Crispy Ambulance,
The Wake,
The Index,
Wighnomy Brothers & Robag Wruhme,
Siouxsie and the Banshees,
Q65,
New Order,
John Coltrane,
In Retrospect,
the Swans,
Saccharine Trust,
Junior Murvin,
Barbara Tucker,
Gil Scott Heron,
Eddi Front,
Gregory Isaacs,
Roy Ayers Ubiquity,
The Beau Brummels,
Bang on a Can All-Stars,
T. Rex,
Mandrill,
Gastr Del Sol,
Oblivians,
The Slackers,
Tubeway Army,
John Lydon,
Severed Heads,
Flipper,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.