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 Pakistan and from Mexico City.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Accra 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 güiro 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 Robert Görl to the dance 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 Eddi Front. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal techno 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 a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Orchestral Manoeuvres in the Dark,
Piero Umiliani,
Country Joe & The Fish,
New York Dolls,
Soul II Soul,
Easy Going,
A Flock of Seagulls,
The Vogues,
Notorious BIG live in Amsterdam,
Iggy Pop,
Buzzcocks,
Justin Hinds & The Dominoes,
Moebius,
Audionom,
The Knickerbockers,
Alton Ellis,
Funkadelic,
Lee Hazlewood,
Pharaoh Sanders and the Fire Engines,
John Cale,
Eurythmics,
E-Dancer,
Marvin Gaye,
10cc,
Ituana,
Rahsaan Roland Kirk,
Hardrive,
Jeff Lynne,
Heavy D & The Boyz,
Youth Brigade,
Dead Boys,
Niagra,
Los Fastidios,
Rhythm & Sound,
Neu!,
Rowland S Howard / Lydia Lunch,
Hot Snakes,
The West Coast Pop Art Experimental Band,
The Last Poets,
Lyres,
Ornette Coleman,
Electric Prunes,
Sunsets and Hearts,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Real Kids,
Tubeway Army,
Grauzone,
Deepchord,
Ken Boothe,
Jacques Brel,
Sonny Sharrock,
Grey Daturas,
Bauhaus,
The Misunderstood,
Mary Jane Girls,
Reuben Wilson,
Neil Young,
Royal Trux,
Unwound,
L. Decosne,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.