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 Colombia and from Tokyo.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Bologna.
I'm losing my edge to the art-school Lille 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 Josef K practice in a loft in Edinburgh.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Country Teasers to the techno 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 The Pop Group. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
The Beau Brummels,
Ten City,
Siglo XX,
Con Funk Shun,
The Human League,
The Fortunes,
Soft Cell,
The Mummies,
The Fall,
Kevin Saunderson,
Ajijia Myrayebe,
Todd Rundgren,
Swell Maps,
China Crisis,
Art Ensemble Of Chicago,
Arthur Verocai,
Marine Girls,
Surgeon,
Lee Hazlewood,
The United States of America,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Minutemen,
Porter Ricks,
Neil Young & Crazy Horse,
Throbbing Gristle,
Gang Starr,
Stiv Bators,
The Remains,
Sandy B,
Manfred Mann's Earth Band,
Public Image Ltd.,
Mission of Burma,
Wasted Youth,
Fad Gadget,
The Peanut Butter Conspiracy,
Grandmaster Flash,
Roy Ayers,
Siouxsie and the Banshees,
Cluster,
Fluxion,
The Men They Couldn't Hang,
Aloha Tigers,
Thompson Twins,
FM Einheit,
Livin' Joy,
World's Most,
Joyce Sims,
the Fania All-Stars,
Pantaleimon,
the Sonics,
the Swans,
Kerrie Biddell,
The Durutti Column,
John Holt,
CMW,
Kenny Larkin,
Terrestrial Tones,
Sam Rivers,
a-ha,
Tom Boy,
Robert Wyatt,
Pantytec, Pantytec, Pantytec, Pantytec.
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.