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 Belize and from Toronto.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Cairo and Tehran.
I'm losing my edge to the art-school Edmonton 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 linndrum sounds with much patience.
I was there when David Bowie 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 Derrick Morgan to the funk kids.
I played it at Cafe Wha.
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 Todd Terry. All the underground hits.
All Suicide tracks. I heard you have a vinyl of every Ash Ra Tempel 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Sunsets and Hearts,
Judy Mowatt,
The Victims,
Kauko Röyhkä ja Narttu,
Audionom,
Lungfish,
Delon & Dalcan,
Matthew Halsall,
John Cale,
Deakin,
John Coltrane,
Boredoms,
Sandy B,
Bauhaus,
cv313,
Parry Music,
Al Stewart,
The Peanut Butter Conspiracy,
Cluster,
Dave Gahan,
Gil Scott-Heron and Jamie xx,
The Gories,
Metal Thangz,
Lonnie Liston Smith,
ABBA,
The Mummies,
Liaisons Dangereuses,
Nick Fraelich,
Talk Talk,
K-Klass,
Richard Hell and the Voidoids,
Icehouse,
Connie Case,
Eve St. Jones,
Crime,
Gary Puckett & The Union Gap,
Wings,
Shoche,
Con Funk Shun,
Au Pairs,
The Tremeloes,
Crispy Ambulance,
Dorothy Ashby,
The Birthday Party,
Gastr Del Sol,
Amon Düül II,
Idris Muhammad,
Groovy Waters,
Sex Pistols,
Banda Bassotti,
Sly & The Family Stone,
CMW,
Lizzy Mercier Descloux,
Gong,
Roxy Music,
The Kinks,
a-ha,
Darondo,
Todd Rundgren,
Tom Boy,
Jesper Dahlback,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.