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 Argentina and from Columbus.
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 1974.
I'm losing my edge.
To all the kids in Halifax and London.
I'm losing my edge to the art-school Edmonton 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 Art of Noise practice in a loft in London.
I was working on the güiro 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 Moss Icon to the electroclash kids.
I played it at the Spitz.
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 Visage. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Hasil Adkins 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Dark Day,
T.S.O.L.,
London Community Gospel Choir,
The Smiths,
Gang Gang Dance,
Unwound,
Tres Demented,
Pantaleimon,
Scratch Acid,
The Flesh Eaters,
The Fall,
Scott Walker,
Jacob Miller,
David McCallum,
The Residents,
The Walker Brothers,
Guru Guru,
Bluetip,
Ludus,
Section 25,
Minnie Riperton,
D'Angelo,
Man Eating Sloth,
the Sonics,
Notorious Big And Bone Thugs,
Art Ensemble Of Chicago,
Monks,
The Dead C,
Pagans,
Joe Smooth,
The Blues Magoos,
Roy Ayers Ubiquity,
Red Lorry Yellow Lorry,
The Smoke,
Joensuu 1685,
Ajijia Myrayebe,
E-Dancer,
Yusef Lateef,
Whodini,
Tropical Tobacco,
R.M.O.,
Cal Tjader,
Moss Icon,
Crispy Ambulance,
Avey Tare's Slasher Flicks,
Quando Quango,
Infiniti,
Grauzone,
Blancmange,
Reagan Youth,
Smog,
JFA,
John Foxx,
Little Man,
Archie Shepp,
Rowland S Howard / Lydia Lunch,
Marine Girls,
Gabor Szabo,
Danielle Patucci,
Severed Heads,
Ten City,
Theoretical Girls,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.