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 Fiji and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Milan and Stockholm.
I'm losing my edge to the art-school Lyon 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Litter to the funk 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 Stiv Bators. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Niagra record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
kango's stein massive,
The Knickerbockers,
The Evens,
Rufus Thomas,
Schoolly D,
Lebanon Hanover,
Rites of Spring,
The Fugs,
Minor Threat,
Blake Baxter,
The Associates,
The Invisible,
Avey Tare,
Prince Buster,
Niagra,
Qualms,
Albert Ayler,
10cc,
June of 44,
The Smoke,
The Gories,
Moby Grape,
L. Decosne,
Slick Rick,
Stetsasonic,
Jeru the Damaja,
The United States of America,
Cymande,
Deadbeat,
Adolescents,
Graham Central Station,
Buzzcocks,
Kas Product,
Marc Romboy vs. Booka Shade,
Oneida,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Warren Ellis,
The Mojo Men,
the Swans,
Wire,
Monolake,
Brothers Johnson,
Grauzone,
Michelle Simonal,
World's Most,
James Chance & The Contortions,
Oblivians,
Mission of Burma,
Lalo Schifrin,
Magma,
Deutsch Amerikanische Freundschaft,
It's A Beautiful Day,
Desert Stars,
Mark Hollis,
Hardrive,
Ultravox,
The Angels of Light,
Scion,
Lou Christie,
Man Eating Sloth,
Junior Murvin,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.