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 Gabon and from Houston.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Calgary.
I'm losing my edge to the art-school Seoul 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 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 Eyeless In Gaza to the techno 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 Eyeless In Gaza. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Joey Negro 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Busters 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?
Cymande,
Procol Harum,
Public Image Ltd.,
Marc Romboy vs. Booka Shade,
The Knickerbockers,
Lungfish,
Alphaville,
Technova,
Zapp,
Marshall Jefferson,
Thompson Twins,
Kenny Larkin,
In Retrospect,
Gabor Szabo,
Audionom,
Porter Ricks,
Qualms,
The Music Machine,
The Slackers,
Peter and Kerry,
Ossler,
Eric Dolphy,
John Holt,
Bang On A Can,
The Saints,
Scott Walker,
Ralphi Rosario,
Silicon Teens,
Lindisfarne,
Steve Hackett,
The American Breed,
MC5,
Nik Kershaw,
Sad Lovers and Giants,
Basic Channel,
The Grass Roots,
Janne Schatter,
Strawberry Alarm Clock,
Public Enemy,
The Royal Family And The Poor,
Excepter,
Peter Gordon & Love of Life Orchestra,
The Golliwogs,
Brass Construction,
Traffic Nightmare,
Bobby Byrd,
Dave Gahan,
48th St. Collective,
Matthew Bourne,
Barrington Levy,
Ornette Coleman,
Man Eating Sloth,
Harpers Bizarre,
Jesper Dahlbäck,
PIL,
Bootsy Collins,
Rhythim Is Rhythim,
Joensuu 1685,
Heavy D & The Boyz,
Vainqueur,
Swans,
Desert Stars,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.