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 Iceland and from Taipei.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Jakarta.
I'm losing my edge to the art-school Spokane 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer 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 Roxy Music to the punk kids.
I played it at the Hacienda.
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 Walker Brothers. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Fluxion record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
Roger Hodgson,
Scion,
Judy Mowatt,
Infiniti,
The Vogues,
Arthur Verocai,
Blake Baxter,
Angry Samoans,
It's A Beautiful Day,
X-101,
Rosa Yemen,
Sly & The Family Stone,
Parry Music,
Camberwell Now,
Unrelated Segments,
Aaron Thompson,
The Jesus and Mary Chain,
Qualms,
Lyres,
Leonard Cohen,
Bronski Beat,
Red Lorry Yellow Lorry,
Swans,
The Sonics,
Average White Band,
Von Mondo,
Maleditus Sound,
Zero Boys,
Joey Negro,
Darondo,
The Monochrome Set,
Animal Collective,
Pagans,
Kevin Saunderson,
Marcia Griffiths,
Donald Byrd,
Janne Schatter,
Mad Mike,
Henry Cow,
Lebanon Hanover,
Bush Tetras,
Lakeside,
the Association,
Brick,
Mary Jane Girls,
Smog,
Supertramp,
Thee Headcoats,
Gichy Dan,
Terrestrial Tones,
Eddi Front,
Newcleus,
The Music Machine,
John Foxx,
Liaisons Dangereuses,
Lower 48,
The Beau Brummels,
Grey Daturas,
Absolute Body Control,
Intrusion,
Kas Product, Kas Product, Kas Product, Kas Product.
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.