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 Mauritania and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1976.
I'm losing my edge.
To all the kids in Madrid and Edmonton.
I'm losing my edge to the art-school Portland 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Alphaville to the grime kids.
I played it at the Troubador.
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 Can. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Matthew Halsall,
Marcia Griffiths,
Eric Dolphy,
Pet Shop Boys,
Schoolly D,
Wire,
Rosa Yemen,
Skarface,
The Blackbyrds,
Drive Like Jehu,
Henry Cow,
Boz Scaggs,
Funkadelic,
Scratch Acid,
8 Eyed Spy,
Josef K,
Jimmy McGriff,
Marc Almond,
UT,
Pagans,
Blossom Toes,
Johnny Osbourne,
A Flock of Seagulls,
Derrick May,
The Misunderstood,
Andrew Hill,
Popol Vuh,
Kerrie Biddell,
The Busters,
Zero Boys,
Steve Hackett,
In Retrospect,
The Star Department,
The Cosmic Jokers,
Anthony Braxton,
Susan Cadogan,
Metal Thangz,
Saccharine Trust,
The Young Rascals,
Kool G Rap & DJ Polo,
Con Funk Shun,
Mary Jane Girls,
Warren Ellis,
Scrapy,
The Sisters of Mercy,
Pole,
Echospace,
Second Layer,
It's A Beautiful Day,
Lalo Schifrin,
Prince Buster,
Talk Talk,
The Cure,
a-ha,
The Dead C,
The Litter,
Minny Pops,
The Sound,
K-Klass,
Man Parrish,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.