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 Cape Verde and from Shanghai.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin 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 Ultravox to the punk kids.
I played it at Trash.
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 Rosa Yemen. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
The J.B.'s,
Juan Atkins,
Sex Pistols,
Scion,
Shuggie Otis,
Mantronix,
Eden Ahbez,
Justin Hinds & The Dominoes,
Scan 7,
The Music Machine,
AZ,
Marshall Jefferson,
Unrelated Segments,
Bluetip,
Panda Bear,
Pierre Henry,
Vladislav Delay,
the Bar-Kays,
Boogie Down Productions,
Inner City,
Sound Behaviour,
Kerri Chandler,
Lonnie Liston Smith,
One Last Wish,
Pete Rock & C.L. Smooth,
Avey Tare & Kría Brekkan,
Mad Mike,
Camron Feat. Memphis Bleek And Beenie Seigel,
David Axelrod,
Procol Harum,
Nas,
Judy Mowatt,
Roy Ayers Ubiquity,
Michelle Simonal,
Throbbing Gristle,
R.M.O.,
the Association,
Gang of Four,
Wighnomy Brothers & Robag Wruhme,
Average White Band,
Erykah Badu,
The Sonics,
Graham Central Station,
Zapp,
Jeff Lynne,
Zero Boys,
Cybotron,
The Velvet Underground,
Faraquet,
Von Mondo,
The Pop Group,
Eurythmics,
The Smoke,
The Alarm Clocks,
Art Ensemble Of Chicago,
Arthur Verocai,
Mr. Review,
Lou Christie,
Davy DMX,
Suicide, Suicide, Suicide, Suicide.
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.