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 St Lucia and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Glasgow 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 organ sounds with much patience.
I was there when Captain Beefheart 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 Dave Clark Five to the electroclash kids.
I played it at the Astoria.
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 Hashim. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every DJ Sneak 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
DeepChord presents Echospace,
The Real Kids,
The Mummies,
Big Daddy Kane,
Colin Newman,
Todd Rundgren,
Davy DMX,
John Cale,
Hardrive,
Metal Thangz,
Whodini,
Manfred Mann's Earth Band,
Delta 5,
Essential Logic,
Tears for Fears,
Isaac Hayes,
Nation of Ulysses,
Ajijia Myrayebe,
Sällskapet,
Throbbing Gristle,
Tommy Roe,
Siouxsie and the Banshees,
Peter and Kerry,
Jeru the Damaja,
Rosa Yemen,
Gang of Four,
The Doors,
New York Dolls,
Wasted Youth,
Stockholm Monsters,
Eden Ahbez,
Animal Collective,
the Germs,
Make Up,
Pere Ubu,
Mo-Dettes,
Cabaret Voltaire,
Bobby Hutcherson,
R.M.O.,
The Monks,
Television,
Can,
Circle Jerks,
Brass Construction,
Nick Cave & The Bad Seeds,
Howard Jones,
a-ha,
Marmalade,
Aswad,
Boz Scaggs,
UT,
Bobby Womack,
Sparks,
Rotary Connection,
Masters at Work,
Jeff Lynne,
Cal Tjader,
The Zeros,
MC5,
John Lydon,
48th St. Collective,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.