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 Mauritius and from Calgary.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Accra and Lagos.
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 clarinet sounds with much patience.
I was there when David Bowie 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 Hot Snakes to the punk kids.
I played it at Trash.
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 Desert Stars. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
The Mighty Diamonds,
Neil Young & Crazy Horse,
Ash Ra Tempel,
Scott Walker,
the Bar-Kays,
Gary Puckett & The Union Gap,
Glambeats Corp.,
Gong,
Barclay James Harvest,
Essential Logic,
Roxette,
Pagans,
Bluetip,
Lindisfarne,
Public Enemy,
Harpers Bizarre,
Amon Düül II,
The Alarm Clocks,
Von Mondo,
ABC,
Dave Gahan,
Aural Exciters,
Rufus Thomas,
Sonic Youth,
Black Moon,
John Holt,
Faraquet,
Amazonics,
Pete Rock & C.L. Smooth,
Eve St. Jones,
Crispy Ambulance,
48th St. Collective,
Bobbi Humphrey,
Gil Scott-Heron & Brian Jackson,
Niagra,
Little Man,
X-Ray Spex,
Terry Callier,
A Certain Ratio,
Pantytec,
Hashim,
The Fugs,
Richard Hell and the Voidoids,
Marmalade,
The Cure,
Camouflage,
Kaleidoscope,
Aaron Thompson,
Magazine,
LL Cool J,
The Victims,
The Toasters,
Gil Scott-Heron and Jamie xx,
Popol Vuh,
Darondo,
Basic Channel,
Chrome,
Ice-T,
Mr. Review,
Wire, Wire, Wire, Wire.
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.