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 Philippines and from Lille.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Madrid 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 snare sounds with much patience.
I was there when Donald Fagen 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 Terrestrial Tones to the electroclash kids.
I played it at the Spitz.
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 Reuben Wilson. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
The Mojo Men,
The Remains,
Lou Reed & Metallica,
Nils Olav,
Brick,
Arthur Verocai,
the Human League,
Pylon,
Soul Sonic Force,
Eli Mardock,
It's A Beautiful Day,
Jeff Mills,
Shuggie Otis,
Moby Grape,
In Retrospect,
Ultravox,
Amazonics,
Ultramagnetic MC's,
Dawn Penn,
Liliput,
Crispy Ambulance,
Youth Brigade,
Con Funk Shun,
PIL,
Bang On A Can,
Chris Corsano,
Subhumans,
Scott Walker,
Quando Quango,
Schoolly D,
Stereo Dub,
New York Dolls,
EPMD,
Loose Ends,
Pantaleimon,
Glenn Branca,
The Residents,
Quantec,
Rites of Spring,
Connie Case,
Max Romeo,
Stetsasonic,
Aaron Thompson,
Dr. Dre and Snoop Doggy Dog,
Nico,
Lou Reed,
The Alarm Clocks,
Moss Icon,
Mr. Review,
Pete Rock & C.L. Smooth,
Sad Lovers and Giants,
The Cramps,
Half Japanese,
Marine Girls,
Blake Baxter,
Brothers Johnson,
Lou Reed & John Cale,
Scrapy,
Bob Dylan,
Fatback Band,
Lafayette Afro Rock Band,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.