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 Mozambique and from Winnipeg.
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 Seoul and Manchester.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Jacques Brel 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 Matthew Halsall. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Maleditus Sound,
Arab on Radar,
Television Personalities,
Mandrill,
Gang Green,
Gil Scott-Heron & Brian Jackson,
Sun City Girls,
Frankie Knuckles,
Boz Scaggs,
Pharoah Sanders,
Scratch Acid,
Gang of Four,
Lee Hazlewood,
Jawbox,
Spandau Ballet,
Crispian St. Peters,
Chris & Cosey,
Throbbing Gristle,
The Evens,
Negative Approach,
The Martian,
10cc,
Fad Gadget,
Shuggie Otis,
L. Decosne,
MDC,
Hashim,
Gang Gang Dance,
Zapp,
Ornette Coleman,
Eric Copeland,
Byron Stingily,
KRS-One,
Minnie Riperton,
The Red Krayola,
H. Thieme,
Tomorrow,
Juan Atkins,
Interpol,
Wings,
The Gap Band,
Wally Richardson,
cv313,
Quando Quango,
Monolake,
Lonnie Liston Smith,
Lafayette Afro Rock Band,
Thinking Fellers Union Local 282,
Max Romeo,
Carl Craig,
Mars,
Super Lover Cee & Casanova Rud,
Soft Cell,
8 Eyed Spy,
Electric Prunes,
Deakin,
the Swans,
The Tremeloes,
Marc Romboy vs. Booka Shade,
Slick Rick,
London Community Gospel Choir,
Qualms, Qualms, Qualms, Qualms.
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.