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 Brunei and from Tehran.
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 1977.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Woodstock 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 the Swans to the jazz kids.
I played it at the Astoria.
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 Jacob Miller. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Soft Cell,
Rufus Thomas,
Gang Gang Dance,
Girls At Our Best!,
Pantaleimon,
The Jesus and Mary Chain,
Pere Ubu,
The Leaves,
Q and Not U,
Lucky Dragons,
Jawbox,
Piero Umiliani,
Marc Romboy vs. Booka Shade,
The Fugs,
Ash Ra Tempel,
A Certain Ratio,
Sugar Minott,
Frankie Knuckles,
Andrew Ashong & Theo Parrish,
Bronski Beat,
Panda Bear,
Barry Ungar,
The Seeds,
Swell Maps,
China Crisis,
Robert Görl,
Marcia Griffiths,
Jesper Dahlback,
Marine Girls,
Isaac Hayes,
The Gun Club,
Johnny Clarke,
The Sisters of Mercy,
Excepter,
Scion,
Monks,
Gastr Del Sol,
Funkadelic,
Boogie Down Productions,
It's A Beautiful Day,
Lou Christie,
K-Klass,
Nation of Ulysses,
Gang Starr,
Mission of Burma,
Selector Dub Narcotic,
Soul II Soul,
New Order,
Glambeats Corp.,
Angels of Light & Akron/Family,
Anakelly,
Cecil Taylor,
Newcleus,
UT,
Danielle Patucci,
Ponytail,
Junior Murvin,
Liaisons Dangereuses,
Tim Buckley,
Chrome,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.