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 Brunei and from Mumbai.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Copenhagen 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Spandau Ballet to the electroclash 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 James White and The Blacks. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Delta 5 record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Monolake,
Tim Buckley,
Neu!,
Gerry Rafferty,
The Zeros,
Yazoo,
The Evens,
Roxy Music,
Terry Callier,
Pantytec,
Tres Demented,
The Kinks,
Lower 48,
Ultra Naté,
Eden Ahbez,
Warren Ellis,
Sad Lovers and Giants,
Ludus,
LL Cool J,
The Real Kids,
Country Joe & The Fish,
The Modern Lovers,
Panda Bear,
Boogie Down Productions,
The Fuzztones,
Oblivians,
D'Angelo,
Echo & the Bunnymen,
Siglo XX,
Mark Hollis,
Section 25,
Pharaoh Sanders and the Fire Engines,
Cluster,
T.S.O.L.,
Fluxion,
AZ,
K-Klass,
Byron Stingily,
Joey Negro,
June Days,
Rotary Connection,
Sunsets and Hearts,
Howard Jones,
Kerri Chandler,
Scott Walker + Sunn O))),
The Barracudas,
Juan Atkins,
The Last Poets,
Be Bop Deluxe,
the Swans,
Hasil Adkins,
Albert Ayler,
The United States of America,
Deutsch Amerikanische Freundschaft,
Kenny Larkin,
Marc Romboy vs. Booka Shade,
Lalo Schifrin,
Faust,
Erykah Badu,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.