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 Togo and from Beijing.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Halifax and Mexico City.
I'm losing my edge to the art-school Houston 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Dorothy Ashby to the crunk kids.
I played it at the 40 Watt.
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 Stetsasonic. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal disco 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Eric B and Rakim,
Symarip,
MDC,
Mission of Burma,
Bobby Byrd,
Severed Heads,
The Fall,
Sly & The Family Stone,
The Velvet Underground,
Unwound,
Jeru the Damaja,
Super Lover Cee & Casanova Rud,
Faust,
Stiv Bators,
Yazoo,
The Mighty Diamonds,
Wings,
Andrew Ashong & Theo Parrish,
The Shadows of Knight,
the Human League,
T. Rex,
Lindisfarne,
Intrusion,
Sandy B,
Strawberry Alarm Clock,
Echospace,
Lou Reed,
Depeche Mode,
Main Source,
Kevin Saunderson,
48th St. Collective,
Liaisons Dangereuses,
Man Parrish,
Ice-T,
Throbbing Gristle,
Sam Rivers,
New York Dolls,
Richard Hell and the Voidoids,
PIL,
Drive Like Jehu,
Soft Cell,
Hot Snakes,
June Days,
Girls At Our Best!,
Electric Light Orchestra,
The Sound,
Kings Of Tomorrow,
JFA,
The Zeros,
CMW,
Camberwell Now,
Bronski Beat,
E-Dancer,
The New Christs,
Sparks,
Bang on a Can All-Stars,
The Music Machine,
Minny Pops,
The Birthday Party,
Michelle Simonal,
Donny Hathaway,
Outsiders,
Japan, Japan, Japan, Japan.
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.