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 Israel and from Spokane.
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 1974.
I'm losing my edge.
To all the kids in Delhi and Lagos.
I'm losing my edge to the art-school Bremen 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 theremin 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 Donny Hathaway to the grime kids.
I played it at the Roxy.
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 Desert Stars. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Eurythmics,
The Flesh Eaters,
The Music Machine,
Fat Boys,
Clear Light,
The Remains,
Aural Exciters,
Bootsy Collins,
The Sisters of Mercy,
Mark Hollis,
Bizarre Inc.,
Sugar Minott,
The Residents,
Carl Craig,
Kas Product,
Joyce Sims,
Joensuu 1685,
Royal Trux,
Mission of Burma,
Reagan Youth,
Index,
Gang of Four,
Man Eating Sloth,
Oblivians,
Nirvana,
The Birthday Party,
The United States of America,
Oppenheimer Analysis,
Traffic Nightmare,
Masters at Work,
Lafayette Afro Rock Band,
Anthony Braxton,
Art Ensemble Of Chicago,
Swans,
The Leaves,
Godley & Creme,
Thompson Twins,
The Slits,
Technova,
Eric B and Rakim,
David Bowie,
Tomorrow,
New Order,
The Sound,
Ultimate Spinach,
David McCallum,
Lyres,
the Soft Cell,
Radiohead,
Scratch Acid,
Bobby Hutcherson,
Thee Headcoats,
Outsiders,
Bauhaus,
H. Thieme,
Crooked Eye,
Ice-T,
The Evens,
DJ Style,
Derrick May,
Tubeway Army,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.