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 Liberia and from Paris.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Paris.
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 808 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 Sight & Sound to the electroclash 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 Second Layer. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal punk 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
The Red Krayola,
Warsaw,
Quadrant,
Country Joe & The Fish,
Jesper Dahlback,
X-102,
The Index,
The Walker Brothers,
Average White Band,
Camouflage,
Circle Jerks,
Beasts of Bourbon,
Peter & Gordon,
Deepchord,
Moby Grape,
cv313,
Gabor Szabo,
Stetsasonic,
Colin Newman,
Little Man,
Harry Pussy,
Scan 7,
Andrew Hill,
Pantaleimon,
Wasted Youth,
Eurythmics,
Alison Limerick,
The Modern Lovers,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gories,
Pharoah Sanders,
The Victims,
Echospace,
Barbara Tucker,
Arthur Verocai,
Grauzone,
Reuben Wilson,
The Sisters of Mercy,
X-Ray Spex,
Public Image Ltd.,
Red Lorry Yellow Lorry,
Jeru the Damaja,
Susan Cadogan,
Vainqueur,
The Move,
New Age Steppers,
Heavy D & The Boyz,
Nils Olav,
Inner City,
Lungfish,
Zero Boys,
R.M.O.,
Electric Prunes,
Bobby Sherman,
Kango’s Stein Massive,
Spoonie Gee,
The Busters,
Mars,
Carl Craig,
Smog, Smog, Smog, Smog.
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.