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 Bahamas and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1961 to 1972.
I'm losing my edge.
To all the kids in Calgary and Manchester.
I'm losing my edge to the art-school Tehran 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 snare 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 Lyres to the funk kids.
I played it at the Crocodile.
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 Amon Düül II. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Popol Vuh 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 a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
Nation of Ulysses,
The Motions,
Crispian St. Peters,
Lalann,
Max Romeo,
Gregory Isaacs,
E-Dancer,
Altered Images,
Steve Hackett,
Angry Samoans,
Y Pants,
Shuggie Otis,
Bush Tetras,
Smog,
Sandy B,
Funky Four + One,
John Foxx,
Simply Red,
Archie Shepp,
Susan Cadogan,
Grandmaster Flash and the Furious Five,
Lizzy Mercier Descloux,
Robert Görl,
Brothers Johnson,
Masters at Work,
Inner City,
The Music Machine,
T. Rex,
Dual Sessions,
Kas Product,
Delon & Dalcan,
Cabaret Voltaire,
UT,
Joensuu 1685,
Black Sheep,
Liliput,
Johnny Clarke,
Unwound,
Bizarre Inc.,
The Cure,
Jimmy McGriff,
Pylon,
Suicide,
Nas,
Brick,
Joe Smooth,
Skarface,
Adolescents,
MDC,
Slave,
Alphaville,
Au Pairs,
James White and The Blacks,
The Mummies,
Oneida,
The Cosmic Jokers,
Röyhkä ja Rättö ja Lehtisalo,
Dorothy Ashby,
Soul II Soul,
The Fugs,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.