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 Jordan and from Manchester.
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 1979.
I'm losing my edge.
To all the kids in Houston and Bremen.
I'm losing my edge to the art-school Portland 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 rhodes 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 Mo-Dettes to the grunge kids.
I played it at the Troubador.
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 Oppenheimer Analysis. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
The Velvet Underground,
Minutemen,
Pantytec,
Young Marble Giants,
Ultra Naté,
Arthur Verocai,
The Raincoats,
Moby Grape,
The Barracudas,
Ultravox,
Darondo,
Scrapy,
Robert Wyatt,
Drive Like Jehu,
Scott Walker + Sunn O))),
Nik Kershaw,
Babytalk,
Cluster,
The Litter,
Groovy Waters,
The J.B.'s,
John Holt,
Traffic Nightmare,
Boredoms,
E-Dancer,
It's A Beautiful Day,
Sällskapet,
Danielle Patucci,
Aloha Tigers,
June Days,
Joe Finger,
Sonic Youth,
The United States of America,
Nico,
Eden Ahbez,
Procol Harum,
Ornette Coleman,
Pierre Henry,
Soft Machine,
Maleditus Sound,
Charles Mingus,
Malaria!,
Peter & Gordon,
Gian Franco Pienzio,
Man Eating Sloth,
The Toasters,
Ronan,
L. Decosne,
Ponytail,
The Moody Blues,
Junior Murvin,
Jeru the Damaja,
The Buckinghams,
Magazine,
June of 44,
Negative Approach,
Erykah Badu,
Severed Heads,
kango's stein massive,
Notorious BIG live in Amsterdam,
The Sound,
Lakeside,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.