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 Latvia and from Stockholm.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Cairo and Edmonton.
I'm losing my edge to the art-school Spokane 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 Michael McDonald 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 Archie Shepp to the techno 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 Slick Rick. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Gastr Del Sol 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
The Black Dice,
the Slits,
Suburban Knight,
Eve St. Jones,
John Holt,
The Cure,
Q and Not U,
Black Sheep,
The Leaves,
Little Man,
Man Eating Sloth,
Agent Orange,
Roy Ayers Ubiquity,
The Men They Couldn't Hang,
The Happenings,
Cal Tjader,
Model 500,
World's Most,
A Certain Ratio,
Flash Fearless,
Cheater Slicks,
Lou Christie,
Fela Kuti,
Kango’s Stein Massive,
Minor Threat,
Gil Scott-Heron and Jamie xx,
Kool G Rap & DJ Polo,
Cluster,
Moebius,
Gian Franco Pienzio,
The Seeds,
The Sonics,
DNA,
Public Image Ltd.,
Eden Ahbez,
Gang Gang Dance,
These Immortal Souls,
The Electric Prunes,
Brothers Johnson,
Supertramp,
London Community Gospel Choir,
Ajijia Myrayebe,
Massinfluence,
T.S.O.L.,
One Last Wish,
A Flock of Seagulls,
Pussy Galore,
Smog,
Ronnie Foster,
Jeru the Damaja,
Interpol,
Simply Red,
Hasil Adkins,
Freddie Wadling,
Delon & Dalcan,
Cecil Taylor,
Mo-Dettes,
ABC,
Country Teasers,
X-Ray Spex,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.