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 Taiwan and from Philadelphia.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Houston and Lyon.
I'm losing my edge to the art-school Halifax 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Sexual Harrassment to the electroclash 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 Model 500. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Fifty Foot Hose record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Angry Samoans,
The Music Machine,
Joy Division,
Eddi Front,
Buzzcocks,
Lalann,
Jeff Lynne,
Ludus,
Vaughan Mason & Crew,
Quadrant,
The Five Americans,
Japan,
Graham Central Station,
Don Cherry,
Mandrill,
Marshall Jefferson,
The Red Krayola,
Soul II Soul,
Dead Boys,
Mad Mike,
Chris Corsano,
The Sisters of Mercy,
Soft Cell,
Youth Brigade,
Oneida,
The Grass Roots,
Eyeless In Gaza,
The Mojo Men,
EPMD,
Fear,
Black Bananas,
Orchestral Manoeuvres in the Dark,
Alton Ellis,
Roxy Music,
The Young Rascals,
Scrapy,
London Community Gospel Choir,
Drexciya,
Danielle Patucci,
Kevin Saunderson,
John Holt,
Colin Newman,
The Peanut Butter Conspiracy,
Crispy Ambulance,
The Victims,
Visage,
Judy Mowatt,
Lightning Bolt,
Wolf Eyes,
Stetsasonic,
Jeff Mills,
Sad Lovers and Giants,
Warsaw,
Skriet,
Goldenarms,
The Martian,
Ronnie Foster,
Popol Vuh,
JFA,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.