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 Greece and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Lyon and Bologna.
I'm losing my edge to the art-school Seoul 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Drexciya to the jazz 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 Matthew Bourne. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Sound Behaviour,
Dual Sessions,
Camberwell Now,
the Soft Cell,
The Invisible,
The Martian,
Hoover,
Grandmaster Flash and the Furious Five,
Wire,
Moebius,
Liliput,
X-102,
James White and The Blacks,
Man Eating Sloth,
Vainqueur,
Althea and Donna,
Maurizio,
The Slits,
Monks,
DJ Sneak,
Thompson Twins,
Barclay James Harvest,
Surgeon,
Sex Pistols,
Motorama,
Fat Boys,
Max Romeo,
Sixth Finger,
Supertramp,
Lungfish,
Janne Schatter,
The Beau Brummels,
The Dirtbombs,
Mr. Review,
Mary Jane Girls,
Tears for Fears,
Byron Stingily,
Eden Ahbez,
Laurel Aitken,
48th St. Collective,
Bob Dylan,
Banda Bassotti,
The Neon Judgement,
X-Ray Spex,
Scrapy,
L. Decosne,
These Immortal Souls,
Sister Nancy,
The Monochrome Set,
The Chocolate Watch Band,
Bang On A Can,
Marvin Gaye,
Grauzone,
Theoretical Girls,
Art Ensemble Of Chicago,
The Toasters,
Lyres,
Avey Tare,
Ornette Coleman,
Whodini, Whodini, Whodini, Whodini.
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.