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 Vanuatu 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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Soft Machine to the grunge 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 Loose Ends. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal grunge 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 a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Throbbing Gristle,
Fad Gadget,
The Gories,
Bush Tetras,
Thompson Twins,
Lebanon Hanover,
Roy Ayers Ubiquity,
Rosa Yemen,
Echospace,
Radio Birdman,
The Cosmic Jokers,
Metal Thangz,
Albert Ayler,
June Days,
X-101,
The Pop Group,
Public Image Ltd.,
Spoonie Gee,
The Mighty Diamonds,
Agitation Free,
Kurtis Blow,
Ajijia Myrayebe,
Moebius,
Lizzy Mercier Descloux,
Selector Dub Narcotic,
Peter and Kerry,
Amon Düül II,
The Count Five,
Wally Richardson,
Super Lover Cee & Casanova Rud,
Chris & Cosey,
Gil Scott-Heron and Jamie xx,
John Holt,
Ultramagnetic MC's,
Siouxsie and the Banshees,
Pierre Henry,
Parry Music,
Rhythm & Sound,
Sexual Harrassment,
Qualms,
Boredoms,
Joey Negro,
The Birthday Party,
Arcadia,
The Neon Judgement,
The Techniques,
Average White Band,
Steve Hackett,
Supertramp,
Suburban Knight,
Television,
PIL,
Visage,
Fluxion,
Kango’s Stein Massive,
Max Romeo,
Quando Quango,
Matthew Halsall,
The Fall,
Chris Corsano,
Nas,
Scratch Acid,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.