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 New Zealand and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1971.
I'm losing my edge.
To all the kids in Lagos and Mexico City.
I'm losing my edge to the art-school Salvador 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Sun City Girls to the dance kids.
I played it at Trash.
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 PIL. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Mr. Review,
The Fire Engines,
Gil Scott-Heron and Jamie xx,
Depeche Mode,
Eden Ahbez,
Lou Reed & John Cale,
The Sonics,
T.S.O.L.,
The Gories,
Saccharine Trust,
Sex Pistols,
the Soft Cell,
Todd Rundgren,
Clear Light,
Nik Kershaw,
Letta Mbulu,
Dark Day,
The Barracudas,
The Jesus and Mary Chain,
Laurel Aitken,
Bobby Byrd,
the Sonics,
Essential Logic,
Justin Hinds & The Dominoes,
Barbara Tucker,
John Lydon,
Man Parrish,
EPMD,
Model 500,
Ralphi Rosario,
Roxy Music,
The Detroit Cobras,
Skriet,
Agent Orange,
Vladislav Delay,
In Retrospect,
Iggy Pop,
Frankie Knuckles,
Urselle,
Aaron Thompson,
Lungfish,
Johnny Osbourne,
Fluxion,
H. Thieme,
X-Ray Spex,
Nico,
Skaos,
The Associates,
Quantec,
Liaisons Dangereuses,
Outsiders,
Eric Copeland,
Television Personalities,
Bad Manners,
Red Lorry Yellow Lorry,
MDC,
Main Source,
Jeff Lynne,
Inner City,
Pagans,
The Grass Roots,
Theoretical Girls,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.