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 Botswana and from Sao Paulo.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Salvador 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Visage to the dance 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 Donny Hathaway. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every E-Dancer 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Cosmic Jokers record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Shoche,
Don Cherry,
The Real Kids,
Johnny Osbourne,
Cal Tjader,
Radiohead,
Kool G Rap & DJ Polo,
A Certain Ratio,
Urselle,
Mars,
Jacques Brel,
The Detroit Cobras,
Marmalade,
Cheater Slicks,
Lou Reed & Metallica,
Wasted Youth,
Kauko Röyhkä ja Narttu,
Gastr Del Sol,
Bizarre Inc.,
Crispy Ambulance,
Boredoms,
Avey Tare & Kría Brekkan,
10cc,
D'Angelo,
Sex Pistols,
Warren Ellis,
Lakeside,
Erykah Badu,
Thompson Twins,
The Doors,
the Fania All-Stars,
F. McDonald,
Freddie Wadling,
Lou Reed & John Cale,
Gang Gang Dance,
Can,
Godley & Creme,
The Last Poets,
Glambeats Corp.,
Morten Harket,
The Techniques,
The Fall,
Big Daddy Kane,
Nirvana,
Notorious BIG live in Amsterdam,
Pole,
Harpers Bizarre,
Matthew Halsall,
The Moody Blues,
Harmonia,
Amon Düül II,
Pet Shop Boys,
Simply Red,
Cecil Taylor,
Flipper,
Louis and Bebe Barron,
Sarah Menescal,
The Victims,
Intrusion,
Hardrive,
The Busters,
The Trojans, The Trojans, The Trojans, The Trojans.
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.