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 Bahamas and from Salvador.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Halifax and Paris.
I'm losing my edge to the art-school Manchester 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 Leonard Cohen to the punk kids.
I played it at the Astoria.
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 The Fire Engines. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Deakin 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Ossler,
Electric Prunes,
Man Parrish,
Con Funk Shun,
Clear Light,
Eric B and Rakim,
Bad Manners,
World's Most,
Duran Duran,
Dead Boys,
Outsiders,
Rapeman,
The Music Machine,
Spandau Ballet,
Frankie Knuckles,
Electric Light Orchestra,
Junior Murvin,
Sun City Girls,
Marc Romboy vs. Booka Shade,
The Seeds,
Black Pus,
Erasure,
Aaron Thompson,
The Pretty Things,
The Fortunes,
Khruangbin,
Pantytec,
Tom Boy,
Malaria!,
Harry Pussy,
Colin Newman,
Guru Guru,
Second Layer,
Lindisfarne,
Dorothy Ashby,
Average White Band,
Sugar Minott,
Roy Ayers,
Tubeway Army,
Adolescents,
Hot Snakes,
Radiohead,
Jesper Dahlback,
The Chocolate Watch Band,
Deutsch Amerikanische Freundschaft,
Talk Talk,
Lalo Schifrin,
Organ,
Kauko Röyhkä ja Narttu,
Gil Scott-Heron and Jamie xx,
Drexciya,
Nation of Ulysses,
Throbbing Gristle,
New Order,
Richard Hell and the Voidoids,
Jacob Miller,
T. Rex,
The Electric Prunes,
Eyeless In Gaza,
Funky Four + One,
Nick Cave & The Bad Seeds,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.