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 Papua New Guinea and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1977.
I'm losing my edge.
To all the kids in Delhi and Manchester.
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 rhodes 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 Cabaret Voltaire to the techno kids.
I played it at the Roxy.
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 Qualms. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every A Flock of Seagulls 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Red Lorry Yellow Lorry,
The Doors,
Godley & Creme,
Oppenheimer Analysis,
Todd Rundgren,
Joyce Sims,
Matthew Halsall,
Moss Icon,
Flamin' Groovies,
Wally Richardson,
Sex Pistols,
Robert Görl,
Niagra,
Jawbox,
Nik Kershaw,
Heaven 17,
Public Enemy,
Gastr Del Sol,
Fat Boys,
Unwound,
Icehouse,
The Young Rascals,
Lou Reed,
Franke,
E-Dancer,
Lizzy Mercier Descloux,
Marshall Jefferson,
The Chocolate Watch Band,
The Grass Roots,
the Sonics,
Ice-T,
Avey Tare & Kría Brekkan,
DJ Style,
Arthur Verocai,
Vaughan Mason & Crew,
Gichy Dan,
Deepchord,
Chris Corsano,
The Offenders,
Sonny Sharrock,
Man Eating Sloth,
ABC,
Ituana,
Zapp,
Dead Boys,
The Gap Band,
Spandau Ballet,
Bauhaus,
Ronan,
Ken Boothe,
Jesper Dahlbäck,
Darondo,
Technova,
This Heat,
Sugar Minott,
Roger Hodgson,
Joy Division,
Grey Daturas,
Soul Sonic Force,
The Cure,
James White and The Blacks,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.