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 Montenegro and from Accra.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Milan and Taipei.
I'm losing my edge to the art-school Johannesburg 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 Wire practice in a loft in Watford.
I was working on the organ 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 Scratch Acid to the punk kids.
I played it at Trash.
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 Kauko Röyhkä ja Narttu. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Electric Light Orchestra,
The Walker Brothers,
Maurizio,
New York Dolls,
The Beau Brummels,
Eli Mardock,
Pantaleimon,
Mark Hollis,
Nick Cave & The Bad Seeds,
Jandek,
Echospace,
Bobby Womack,
Orchestral Manoeuvres in the Dark,
Clear Light,
The Zeros,
Lou Christie,
Grandmaster Flash and the Furious Five,
Faraquet,
Fat Boys,
Schoolly D,
Boogie Down Productions,
Ultimate Spinach,
Animal Collective,
Camouflage,
Fifty Foot Hose,
Barrington Levy,
Q and Not U,
Section 25,
Urselle,
Albert Ayler,
The Doobie Brothers,
Johnny Clarke,
Crispian St. Peters,
Liliput,
Cameo,
Jeff Lynne,
Drive Like Jehu,
Goldenarms,
Slave,
Deakin,
Scott Walker,
8 Eyed Spy,
The Buckinghams,
Alison Limerick,
The Knickerbockers,
Stiv Bators,
Newcleus,
Andrew Ashong & Theo Parrish,
Eric B and Rakim,
Crash Course in Science,
Peter & Gordon,
Gerry Rafferty,
Tim Buckley,
Neil Young,
The Five Americans,
Graham Central Station,
UT,
Cymande,
Neil Young & Crazy Horse,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.