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 Barbados and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
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 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 Joe Smooth to the jazz 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 Loose Ends. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every It's A Beautiful Day 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 '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Roy Ayers Ubiquity,
The Alarm Clocks,
B.T. Express,
Mary Jane Girls,
Dual Sessions,
Pussy Galore,
Cabaret Voltaire,
Lakeside,
Porter Ricks,
Andrew Ashong & Theo Parrish,
Althea and Donna,
London Community Gospel Choir,
Maleditus Sound,
Grauzone,
Ituana,
Sugar Minott,
Intrusion,
OOIOO,
Lou Reed & John Cale,
Pharaoh Sanders and the Fire Engines,
The Invisible,
Unwound,
Sticky Fingaz feat. Raekwon,
Pierre Henry,
The Gun Club,
Absolute Body Control,
Black Bananas,
Brand Nubian,
A Flock of Seagulls,
Lou Reed,
Skarface,
Au Pairs,
Barrington Levy,
8 Eyed Spy,
Angels of Light & Akron/Family,
Orchestral Manoeuvres in the Dark,
Jeff Mills,
Japan,
James Chance & The Contortions,
Terry Callier,
Quadrant,
Mo-Dettes,
Bush Tetras,
Section 25,
LL Cool J,
Warren Ellis,
Tom Boy,
Erykah Badu,
Second Layer,
Scrapy,
Blancmange,
Model 500,
Half Japanese,
Anakelly,
L. Decosne,
Colin Newman,
Janne Schatter,
The Misunderstood,
The Modern Lovers,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.