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 Jordan and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1973.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Woodstock 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Major Organ And The Adding Machine to the funk 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 Drive Like Jehu. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
Cluster,
Delon & Dalcan,
Maleditus Sound,
Porter Ricks,
The Peanut Butter Conspiracy,
Camouflage,
Au Pairs,
Ash Ra Tempel,
Manfred Mann's Earth Band,
The Blues Magoos,
Schoolly D,
Eric B and Rakim,
Nation of Ulysses,
Alphaville,
Duran Duran,
Sam Rivers,
Susan Cadogan,
UT,
DeepChord presents Echospace,
Blancmange,
Peter & Gordon,
The Slits,
Flash Fearless,
The Chocolate Watch Band,
H. Thieme,
The Fortunes,
Alice Coltrane,
Sällskapet,
Graham Central Station,
Derrick Morgan,
Man Parrish,
Spandau Ballet,
Arab on Radar,
Young Marble Giants,
Soft Machine,
Organ,
Jesper Dahlback,
Andrew Hill,
DNA,
Nik Kershaw,
Basic Channel,
Quadrant,
the Soft Cell,
Lakeside,
X-102,
Matthew Bourne,
Kool Moe Dee,
Television Personalities,
Ohio Players,
Sun Ra,
Magma,
Scott Walker + Sunn O))),
Sad Lovers and Giants,
The Beau Brummels,
the Germs,
Frankie Knuckles,
Magazine,
The Pop Group,
The New Christs,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.