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 Fiji and from Paris.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1973.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Heaven 17 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 Ornette Coleman. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Mars,
Terrestrial Tones,
The Leaves,
Alison Limerick,
Black Pus,
Nation of Ulysses,
Major Organ And The Adding Machine,
Cal Tjader,
Moss Icon,
Ultramagnetic MC's,
Erykah Badu,
The J.B.'s,
Flamin' Groovies,
Larry & the Blue Notes,
Susan Cadogan,
Blossom Toes,
Technova,
Faust,
Boz Scaggs,
Lee Hazlewood,
Tears for Fears,
The Dirtbombs,
Freddie Wadling,
Dave Gahan,
The Mojo Men,
Judy Mowatt,
Kool Moe Dee,
Porter Ricks,
Rekid,
The Motions,
Pere Ubu,
Crispy Ambulance,
Toni Rubio,
a-ha,
Q65,
R.M.O.,
The Cramps,
Make Up,
DeepChord presents Echospace,
Quantec,
Echo & the Bunnymen,
the Swans,
Jerry Gold Smith,
The Wake,
The Electric Prunes,
Nick Cave & The Bad Seeds,
Second Layer,
Patti Smith,
Electric Prunes,
The West Coast Pop Art Experimental Band,
Notorious BIG live in Amsterdam,
Accadde A,
Nico,
T.S.O.L.,
Bobby Hutcherson,
Buzzcocks,
Gang Starr,
Rhythim Is Rhythim,
X-101,
Hot Snakes,
The Sonics,
The Chocolate Watch Band,
The Misunderstood,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.