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 Finland and from Woodstock.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
I'm losing my edge to the art-school Mexico City 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 marimba 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 The Gladiators to the jazz kids.
I played it at the Astoria.
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 Au Pairs. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every The Real Kids 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Dark Day,
Moebius,
Aaron Thompson,
Aswad,
Bang on a Can All-Stars,
Average White Band,
Underground Resistance,
Piero Umiliani,
Mad Mike,
Neil Young & Crazy Horse,
Echo & the Bunnymen,
Wasted Youth,
Larry & the Blue Notes,
It's A Beautiful Day,
the Association,
Outsiders,
Junior Murvin,
Crime,
In Retrospect,
Major Organ And The Adding Machine,
Black Pus,
Skriet,
Sad Lovers and Giants,
Bobbi Humphrey,
The Tremeloes,
Animal Collective,
Kayak,
The Move,
Pharaoh Sanders and the Fire Engines,
The Skatalites,
Soft Machine,
Alison Limerick,
Basic Channel,
Rites of Spring,
Dead Boys,
Rufus Thomas,
Depeche Mode,
Howard Jones,
Roxette,
the Bar-Kays,
Inner City,
Q65,
Country Joe & The Fish,
The Chocolate Watch Band,
The Fuzztones,
Talk Talk,
Marc Romboy vs. Booka Shade,
Harpers Bizarre,
The Real Kids,
The Jesus and Mary Chain,
Peter Gordon & Love of Life Orchestra,
Kenny Larkin,
Model 500,
Franke,
Magma,
Alice Coltrane,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.