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 Bahrain and from Winnipeg.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Calgary 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Wasted Youth to the techno 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 Avey Tare & Kría Brekkan. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Fort Wilson Riot 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Section 25,
Rosa Yemen,
Susan Cadogan,
U.S. Maple,
the Slits,
Banda Bassotti,
Marshall Jefferson,
Morten Harket,
Mandrill,
The Wake,
The Modern Lovers,
The Dirtbombs,
Angry Samoans,
Grandmaster Flash and the Furious Five,
Ossler,
Ponytail,
Nik Kershaw,
Nils Olav,
Juan Atkins,
Grandmaster Flash,
The United States of America,
Notorious BIG live in Amsterdam,
Gang Starr,
Main Source,
Funky Four + One,
Sun City Girls,
New Age Steppers,
Ten City,
The Slits,
Quadrant,
T. Rex,
Infiniti,
Drexciya,
B.T. Express,
The Velvet Underground,
James White and The Blacks,
Popol Vuh,
Boogie Down Productions,
Skriet,
Oppenheimer Analysis,
Moebius,
Fat Boys,
Arab on Radar,
Echo & the Bunnymen,
Dead Boys,
Avey Tare,
X-101,
Barbara Tucker,
Peter and Kerry,
Joensuu 1685,
Bauhaus,
The Detroit Cobras,
The Trojans,
Audionom,
Gabor Szabo,
Jacques Brel,
Eden Ahbez,
The Leaves,
The Birthday Party,
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.