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 Saudi Arabia and from Houston.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lille and Toronto.
I'm losing my edge to the art-school Toronto 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 harpsichord 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 Clear Light to the rap 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 Motorama. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every The Jesus and Mary Chain 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Kurtis Blow,
Jacques Brel,
Girls At Our Best!,
Suicide,
the Sonics,
Country Teasers,
Dennis Brown,
Soul II Soul,
Yaz,
Oppenheimer Analysis,
the Soft Cell,
Sonic Youth,
Dead Boys,
Groovy Waters,
Fela Kuti,
Thee Headcoats,
Icehouse,
Eli Mardock,
Gang Green,
Throbbing Gristle,
Whodini,
The Raincoats,
John Cale,
Bobby Hutcherson,
Niagra,
Sarah Menescal,
The Gories,
The Mojo Men,
Oblivians,
The Trojans,
Bootsy Collins,
The Grass Roots,
The Zeros,
Buzzcocks,
Agitation Free,
Maleditus Sound,
The Misunderstood,
Tubeway Army,
T.S.O.L.,
Cecil Taylor,
Pierre Henry,
Y Pants,
Clear Light,
Lindisfarne,
The Count Five,
Steve Hackett,
New Age Steppers,
Idris Muhammad,
Kayak,
Swans,
Rosa Yemen,
Camberwell Now,
Man Eating Sloth,
Pole,
Carl Craig,
Flash Fearless,
Ronnie Foster,
Harry Pussy,
Sight & Sound,
Electric Light Orchestra,
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.