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 Dominica and from Lille.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Salvador.
I'm losing my edge to the art-school Spokane 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Moebius to the dance 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 Inner City. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Intrusion 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
The Kinks,
The Invisible,
The J.B.'s,
B.T. Express,
Spoonie Gee,
Scion,
Don Cherry,
Lindisfarne,
Bill Near,
The Standells,
Rufus Thomas,
The Offenders,
Tres Demented,
Con Funk Shun,
Marcia Griffiths,
Nik Kershaw,
Masters at Work,
Chris & Cosey,
Oppenheimer Analysis,
Justin Hinds & The Dominoes,
Andrew Ashong & Theo Parrish,
The Birthday Party,
Slave,
Archie Shepp,
D'Angelo,
The Motions,
Angels of Light & Akron/Family,
Sister Nancy,
Bootsy's Rubber Band,
Fear,
The Cowsills,
Cabaret Voltaire,
Eli Mardock,
New Age Steppers,
Thinking Fellers Union Local 282,
Newcleus,
Pierre Henry,
The Music Machine,
Eve St. Jones,
The Trojans,
Lou Reed & Metallica,
Excepter,
Minor Threat,
Banda Bassotti,
Q65,
The Dave Clark Five,
Kayak,
Judy Mowatt,
Joey Negro,
The Barracudas,
Marshall Jefferson,
Barbara Tucker,
Unrelated Segments,
H. Thieme,
Malaria!,
Brothers Johnson,
Minutemen,
Mo-Dettes,
Youth Brigade,
Q and Not U,
Red Lorry Yellow Lorry,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.