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 Bolivia and from Seoul.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Madrid 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Glenn Branca to the grunge kids.
I played it at CBGB's.
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 John Lydon. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Mandrill 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Thee Headcoats,
Funkadelic,
Ponytail,
Angels of Light & Akron/Family,
The Dead C,
La Düsseldorf,
Jesper Dahlbäck,
Tom Boy,
Radiopuhelimet,
Eve St. Jones,
Angry Samoans,
X-101,
The Men They Couldn't Hang,
Gil Scott Heron,
Chrome,
Ice-T,
The Leaves,
Graham Central Station,
Robert Wyatt,
Visage,
Cameo,
Nation of Ulysses,
Suicide,
Zapp,
Dennis Brown,
The Offenders,
June of 44,
The Monks,
The Residents,
T. Rex,
the Normal,
The United States of America,
Au Pairs,
Supertramp,
Bobby Hutcherson,
Dave Gahan,
Ultimate Spinach,
Jandek,
Boredoms,
David Axelrod,
48th St. Collective,
Morten Harket,
Swell Maps,
The Doobie Brothers,
Quantec,
Spoonie Gee,
Big Daddy Kane,
John Foxx,
Thompson Twins,
The Stooges,
Judy Mowatt,
Moebius,
Orchestral Manoeuvres in the Dark,
Joy Division,
Pharaoh Sanders and the Fire Engines,
cv313,
Soul Sonic Force,
Soft Cell,
John Lydon,
Hot Snakes,
Yazoo,
Magma,
Throbbing Gristle,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.