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 Mexico and from Sao Paulo.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Cairo and Sao Paulo.
I'm losing my edge to the art-school Calgary 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 organ 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 Throbbing Gristle to the dance kids.
I played it at the 40 Watt.
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 Traffic Nightmare. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every Thompson Twins 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Monolake,
Pharoah Sanders,
The New Christs,
Siouxsie and the Banshees,
Janne Schatter,
Suburban Knight,
Sex Pistols,
Clear Light,
The Saints,
Bobby Sherman,
Schoolly D,
Leonard Cohen,
Lalann,
The Angels of Light,
The Moleskins,
Stereo Dub,
The Men They Couldn't Hang,
The Black Dice,
Gil Scott Heron,
China Crisis,
X-102,
The Birthday Party,
Moss Icon,
Spandau Ballet,
Negative Approach,
a-ha,
Rekid,
A Flock of Seagulls,
Easy Going,
Don Cherry,
Country Joe & The Fish,
Black Sheep,
Gichy Dan,
Eve St. Jones,
Faraquet,
Sight & Sound,
Bad Manners,
Ajijia Myrayebe,
the Bar-Kays,
Con Funk Shun,
The Pop Group,
Letta Mbulu,
The Durutti Column,
Fugazi,
Neil Young,
Nas,
Eric Copeland,
the Association,
Animal Collective,
Shuggie Otis,
David Axelrod,
James White and The Blacks,
AZ,
PIL,
Soft Cell,
Wings,
Bobby Womack,
Hardrive,
John Lydon,
Orchestral Manoeuvres in the Dark,
Chris Corsano,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.