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 Singapore and from New York.
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 1965 to 1972.
I'm losing my edge.
To all the kids in London and Hong Kong.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Lou Reed 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 The Gap Band to the grunge kids.
I played it at the Crocodile.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suicide,
The Neon Judgement,
Skaos,
Oblivians,
Jeru the Damaja,
Stiv Bators,
Funky Four + One,
Mo-Dettes,
Deepchord,
Kas Product,
Davy DMX,
Aural Exciters,
The Remains,
the Fania All-Stars,
The Doobie Brothers,
The Misunderstood,
Barry Ungar,
T.S.O.L.,
The Vogues,
Intrusion,
Crispy Ambulance,
Super Lover Cee & Casanova Rud,
Camberwell Now,
Scott Walker + Sunn O))),
Fear,
Heavy D & The Boyz,
The Associates,
Kings Of Tomorrow,
New Age Steppers,
The Cramps,
The Count Five,
Q and Not U,
OOIOO,
Kauko Röyhkä ja Narttu,
Larry & the Blue Notes,
The Techniques,
The Litter,
Frankie Knuckles,
Nation of Ulysses,
Michelle Simonal,
Harmonia,
Saccharine Trust,
Joe Smooth,
It's A Beautiful Day,
Art Ensemble Of Chicago,
Radiopuhelimet,
Fort Wilson Riot,
The Move,
Lou Reed & John Cale,
Lalann,
Young Marble Giants,
Electric Light Orchestra,
June of 44,
Röyhkä ja Rättö ja Lehtisalo,
Brick,
Ice-T,
The Peanut Butter Conspiracy,
Mandrill,
Gang of Four,
Mark Hollis,
Pagans,
Fifty Foot Hose,
Loose Ends,
The Trojans, The Trojans, The Trojans, The Trojans.
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.