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 the UAE 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 1960 to 1971.
I'm losing my edge.
To all the kids in Seoul and Bologna.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Cluster to the rap 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 Ornette Coleman. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Bobby Byrd record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
This Heat,
Traffic Nightmare,
The Jesus and Mary Chain,
Little Man,
Terrestrial Tones,
The Standells,
Judy Mowatt,
Marvin Gaye,
Peter & Gordon,
The Music Machine,
Steve Hackett,
Warsaw,
Pussy Galore,
Loose Ends,
Ponytail,
Lightning Bolt,
Roger Hodgson,
CMW,
PIL,
Electric Prunes,
Barry Ungar,
Warren Ellis,
Henry Cow,
Fort Wilson Riot,
the Slits,
Ossler,
The Sisters of Mercy,
Livin' Joy,
Fluxion,
B.T. Express,
Dark Day,
Radio Birdman,
Basic Channel,
Ronan,
Moss Icon,
The Searchers,
Hot Snakes,
Frankie Knuckles,
Pharoah Sanders,
Todd Rundgren,
Skriet,
Pole,
Moby Grape,
Monolake,
Ten City,
Connie Case,
Lou Reed & John Cale,
Lou Christie,
The Mighty Diamonds,
Slick Rick,
Schoolly D,
The Birthday Party,
The Wake,
Clear Light,
Dennis Brown,
Eden Ahbez,
the Sonics,
Stetsasonic,
Janne Schatter,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.