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 Sri Lanka and from Tehran.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Manila.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Jeru the Damaja to the disco kids.
I played it at the 40 Watt.
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 Kerri Chandler. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Pierre Henry,
UT,
Wasted Youth,
Altered Images,
Alison Limerick,
Tom Boy,
Fort Wilson Riot,
Brick,
Eyeless In Gaza,
Alphaville,
Bob Dylan,
R.M.O.,
Jacques Brel,
Arcadia,
The West Coast Pop Art Experimental Band,
EPMD,
Gil Scott-Heron and Jamie xx,
Lou Reed & Metallica,
Siglo XX,
Traffic Nightmare,
Adolescents,
Organ,
Matthew Halsall,
The Star Department,
the Association,
Little Man,
Procol Harum,
Juan Atkins,
Selector Dub Narcotic,
T.S.O.L.,
Pere Ubu,
Pole,
the Soft Cell,
One Last Wish,
Crooked Eye,
London Community Gospel Choir,
The Vogues,
Jeff Mills,
Aural Exciters,
Red Lorry Yellow Lorry,
Vaughan Mason & Crew,
Ossler,
Average White Band,
Harmonia,
The Evens,
Hashim,
Sällskapet,
Japan,
The Modern Lovers,
Byron Stingily,
Wolf Eyes,
Avey Tare,
ABBA,
The Sound,
Lakeside,
Black Moon,
Alice Coltrane,
Rahsaan Roland Kirk,
Crash Course in Science,
Scott Walker,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.