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 Cambodia and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Lyon and Columbus.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 La Düsseldorf to the disco kids.
I played it at the Troubador.
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 Flesh Eaters. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Donny Hathaway record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
The Barracudas,
The Dirtbombs,
The Sound,
Unrelated Segments,
Matthew Bourne,
Arthur Verocai,
Jandek,
Albert Ayler,
Laurel Aitken,
The Dead C,
48th St. Collective,
Robert Hood,
Throbbing Gristle,
Camberwell Now,
Warsaw,
Rapeman,
Glenn Branca,
Tomorrow,
Sparks,
Red Lorry Yellow Lorry,
Siouxsie and the Banshees,
John Cale,
Röyhkä ja Rättö ja Lehtisalo,
Joe Finger,
Panda Bear,
Mo-Dettes,
Suburban Knight,
Scott Walker,
Isaac Hayes,
Gil Scott-Heron & Brian Jackson,
The Names,
The Real Kids,
R.M.O.,
Drexciya,
Easy Going,
X-102,
Jerry Gold Smith,
Sun Ra,
Davy DMX,
Stereo Dub,
Richard Hell and the Voidoids,
Rekid,
Bootsy Collins,
Bluetip,
Blossom Toes,
Pylon,
Television,
Yusef Lateef,
Jawbox,
Vaughan Mason & Crew,
Chrome,
The New Christs,
The Gladiators,
Crime,
The Associates,
A Flock of Seagulls,
Sly & The Family Stone,
Swans,
Mad Mike,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.