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 Tajikistan and from Beijing.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Lyon and Delhi.
I'm losing my edge to the art-school Bremen 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 marimba sounds with much patience.
I was there when Lou Reed 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 Avey Tare to the rap 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 Newcleus. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Yazoo,
the Germs,
Smog,
Organ,
E-Dancer,
Idris Muhammad,
the Sonics,
Bobby Sherman,
Skarface,
Desert Stars,
Andrew Ashong & Theo Parrish,
Fela Kuti,
Delon & Dalcan,
The Litter,
Kings Of Tomorrow,
Echo & the Bunnymen,
John Foxx,
Kango’s Stein Massive,
Tropical Tobacco,
Jeff Lynne,
Blake Baxter,
Rosa Yemen,
Eurythmics,
Charles Mingus,
Ultravox,
Pantytec,
Country Joe & The Fish,
The Remains,
Eyeless In Gaza,
The Modern Lovers,
Peter & Gordon,
De La Soul & Jungle Brothers,
Television Personalities,
Malaria!,
Tomorrow,
Joe Smooth,
Angry Samoans,
Cybotron,
Dawn Penn,
Wire,
Outsiders,
The Leaves,
Duran Duran,
Electric Light Orchestra,
Essential Logic,
Camouflage,
Pharoah Sanders,
Ohio Players,
The Moody Blues,
Pole,
Neu!,
Glenn Branca,
Tubeway Army,
Robert Hood,
Interpol,
Mission of Burma,
Zapp,
Albert Ayler,
Man Eating Sloth,
Rotary Connection,
Animal Collective,
Kaleidoscope,
Ice-T, Ice-T, Ice-T, Ice-T.
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.