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 Equatorial Guinea 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 1964 to 1975.
I'm losing my edge.
To all the kids in Manila and Houston.
I'm losing my edge to the art-school Calgary 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe 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 One Last Wish to the grime kids.
I played it at the Hacienda.
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 A Certain Ratio. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Ornette Coleman 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Kango’s Stein Massive,
CMW,
Faust,
Ornette Coleman,
Sam Rivers,
A Certain Ratio,
Colin Newman,
Das Ding,
Siglo XX,
Röyhkä ja Rättö ja Lehtisalo,
Parry Music,
Eyeless In Gaza,
Sixth Finger,
K-Klass,
Mars,
Stiv Bators,
The Grass Roots,
Urselle,
The Gap Band,
The Beau Brummels,
Theoretical Girls,
Bobbi Humphrey,
Niagra,
Larry & the Blue Notes,
Sound Behaviour,
The United States of America,
Mad Mike,
Warren Ellis,
The American Breed,
Letta Mbulu,
Yaz,
Iggy Pop,
Eric Copeland,
Donald Byrd,
The Alarm Clocks,
Sad Lovers and Giants,
The Vogues,
F. McDonald,
Nico,
Bad Manners,
Agent Orange,
The Count Five,
Grey Daturas,
Angels of Light & Akron/Family,
Junior Murvin,
Gastr Del Sol,
Notorious Big And Bone Thugs,
The Gun Club,
The Human League,
Dennis Brown,
Interpol,
Judy Mowatt,
Joyce Sims,
Michelle Simonal,
The Mojo Men,
Echospace,
Jeff Mills,
Lyres,
Technova,
EPMD,
John Foxx,
Terror Squad Feat. Camron, Terror Squad Feat. Camron, Terror Squad Feat. Camron, Terror Squad Feat. Camron.
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.