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 Spain and from Calgary.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the guitar 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 Judy Mowatt to the electroclash 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 Ultravox. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Stereo Dub,
AZ,
Sun City Girls,
Scott Walker,
Alice Coltrane,
Jerry Gold Smith,
Susan Cadogan,
Au Pairs,
The Fire Engines,
Youth Brigade,
Yazoo,
Toni Rubio,
The Skatalites,
Lightning Bolt,
Danielle Patucci,
The Men They Couldn't Hang,
The Remains,
Minny Pops,
Lou Reed,
Sugar Minott,
Lou Reed & John Cale,
Althea and Donna,
the Association,
Pere Ubu,
Little Man,
The Buckinghams,
T. Rex,
Lungfish,
China Crisis,
Cabaret Voltaire,
Monks,
Laurel Aitken,
Fugazi,
ABC,
Eric B and Rakim,
The Chocolate Watch Band,
Delon & Dalcan,
KRS-One,
The Dead C,
Mo-Dettes,
Girls At Our Best!,
The Searchers,
Scion,
The Pop Group,
Prince Buster,
Sex Pistols,
Camouflage,
Matthew Bourne,
Excepter,
Rekid,
Crispian St. Peters,
Popol Vuh,
Icehouse,
Jeff Lynne,
Soft Cell,
These Immortal Souls,
Eurythmics,
Reuben Wilson,
Nas,
Leonard Cohen,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.