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 the UAE and from Manchester.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Stockholm 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Bootsy Collins to the dance kids.
I played it at the Hacienda.
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 Sly & The Family Stone. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every The Beau Brummels 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Roxette,
Orchestral Manoeuvres in the Dark,
Barclay James Harvest,
the Association,
Basic Channel,
Boredoms,
Lakeside,
Matthew Bourne,
Barry Ungar,
Deakin,
PIL,
Motorama,
Curtis Mayfield,
Japan,
Bobby Sherman,
Oneida,
Can,
Traffic Nightmare,
Mo-Dettes,
The Moody Blues,
London Community Gospel Choir,
Pere Ubu,
Yusef Lateef,
Iggy Pop,
Girls At Our Best!,
Bill Near,
Morten Harket,
Angels of Light & Akron/Family,
Cabaret Voltaire,
X-Ray Spex,
Monolake,
Lungfish,
Echo & the Bunnymen,
Sparks,
Lee Hazlewood,
Nico,
Kerri Chandler,
Jeff Mills,
MDC,
Tom Boy,
Robert Wyatt,
Groovy Waters,
James Chance & The Contortions,
Jeff Lynne,
Alton Ellis,
Con Funk Shun,
Outsiders,
F. McDonald,
Sister Nancy,
Von Mondo,
Big Daddy Kane,
Bobby Hutcherson,
Television Personalities,
Pete Rock & C.L. Smooth,
48th St. Collective,
Faust,
The Blackbyrds,
Gian Franco Pienzio,
Radio Birdman,
The Index,
Dual Sessions,
Skaos,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.