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 Kiribati and from Spokane.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Tokyo.
I'm losing my edge to the art-school Accra 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 The Mojo Men to the funk kids.
I played it at the Roxy.
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 Pylon. All the underground hits.
All Dave Gahan tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
The Victims,
Joey Negro,
The Shadows of Knight,
Röyhkä ja Rättö ja Lehtisalo,
Joe Finger,
The Mummies,
Gang Gang Dance,
Lou Christie,
PIL,
John Holt,
Oblivians,
Kevin Saunderson,
Hashim,
Amon Düül II,
Mandrill,
Strawberry Alarm Clock,
These Immortal Souls,
Eden Ahbez,
Fugazi,
Roy Ayers Ubiquity,
Saccharine Trust,
Michelle Simonal,
Sex Pistols,
The Knickerbockers,
Fatback Band,
Rhythm & Sound,
The Electric Prunes,
UT,
Joensuu 1685,
Rowland S Howard / Lydia Lunch,
F. McDonald,
Ken Boothe,
Swans,
Oneida,
Crash Course in Science,
Mission of Burma,
Trumans Water,
Johnny Osbourne,
The Fuzztones,
Alton Ellis,
The Fortunes,
Hot Snakes,
The Move,
Altered Images,
Tim Buckley,
Rahsaan Roland Kirk,
Angry Samoans,
Black Flag,
Gil Scott-Heron & Brian Jackson,
Black Pus,
Lalann,
Tommy Roe,
Hardrive,
Fluxion,
Scan 7,
Archie Shepp,
Anakelly,
Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds.
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.