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 Croatia and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Manchester 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 spring reverb 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 Camron Feat. Memphis Bleek And Beenie Seigel to the grime 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 Barrington Levy. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Gil Scott Heron,
The Wake,
Nick Fraelich,
Wasted Youth,
The Neon Judgement,
Alison Limerick,
Marc Romboy vs. Booka Shade,
E-Dancer,
The Fire Engines,
Grauzone,
Jerry Gold Smith,
Second Layer,
Thinking Fellers Union Local 282,
Whodini,
Lyres,
The Mojo Men,
Mr. Review,
Model 500,
Arthur Verocai,
The Angels of Light,
L. Decosne,
Throbbing Gristle,
Amon Düül,
The Shadows of Knight,
Lower 48,
The West Coast Pop Art Experimental Band,
The Leaves,
John Holt,
The J.B.'s,
Rakim,
Lalo Schifrin,
Connie Case,
Von Mondo,
Bad Manners,
Barry Ungar,
Michelle Simonal,
Echo & the Bunnymen,
The Fortunes,
Stereo Dub,
Justin Hinds & The Dominoes,
Lakeside,
Pantaleimon,
Pet Shop Boys,
Ultra Naté,
Fluxion,
Ponytail,
Scott Walker,
Kevin Saunderson,
Grandmaster Flash,
Talk Talk,
Gang Gang Dance,
Ronan,
Masters at Work,
Barclay James Harvest,
Cymande,
Unwound,
Drive Like Jehu,
Wire,
Terror Squad Feat. Camron,
Robert Hood,
Brothers Johnson,
FM Einheit,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.