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 Equatorial Guinea and from Portland.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
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 1979 at the first Second Layer practice in a loft in South London.
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 Peter & Gordon to the electroclash kids.
I played it at the Roxy.
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 Pere Ubu. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Carl Craig record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Barclay James Harvest,
Eurythmics,
The Royal Family And The Poor,
Delon & Dalcan,
Johnny Osbourne,
L. Decosne,
DeepChord presents Echospace,
Crash Course in Science,
Girls At Our Best!,
Depeche Mode,
David McCallum,
The Zeros,
The Sonics,
Kurtis Blow,
Sister Nancy,
Rod Modell,
Judy Mowatt,
The Pretty Things,
The Happenings,
Dawn Penn,
Nick Cave & The Bad Seeds,
Desert Stars,
Boz Scaggs,
Gong,
OOIOO,
Deakin,
Sex Pistols,
Todd Terry,
Inner City,
Bobby Byrd,
Goldenarms,
Rapeman,
Minny Pops,
Frankie Knuckles,
The Gun Club,
Visage,
Shuggie Otis,
Lalo Schifrin,
Sixth Finger,
Accadde A,
AZ,
Unwound,
Bush Tetras,
The Red Krayola,
Pantaleimon,
Susan Cadogan,
Colin Newman,
Country Teasers,
Adolescents,
John Coltrane,
Jerry's Kids,
The Dirtbombs,
Altered Images,
Donald Byrd,
This Heat,
The Last Poets,
The Mighty Diamonds,
Tim Buckley,
Newcleus,
Bob Dylan,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.