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 Spain and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Lyon 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 theremin 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 Dark Day 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 The Associates. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Monks,
The Knickerbockers,
Throbbing Gristle,
Little Man,
Mars,
The Modern Lovers,
Rotary Connection,
Gong,
Vaughan Mason & Crew,
Sun Ra Arkestra,
James White and The Blacks,
Sun City Girls,
U.S. Maple,
Subhumans,
Graham Central Station,
Selector Dub Narcotic,
Ken Boothe,
Gil Scott-Heron & Brian Jackson,
The Sisters of Mercy,
Dawn Penn,
Rufus Thomas,
The Men They Couldn't Hang,
Siouxsie and the Banshees,
The Vogues,
Rhythm & Sound,
Bang On A Can,
Q65,
Pole,
Blossom Toes,
Aaron Thompson,
Panda Bear,
The Gun Club,
Malaria!,
Rapeman,
Animal Collective,
Suicide,
Dave Gahan,
Minutemen,
Eyeless In Gaza,
The Birthday Party,
Neil Young & Crazy Horse,
The Fire Engines,
Absolute Body Control,
Quadrant,
Cecil Taylor,
B.T. Express,
T.S.O.L.,
the Slits,
Deutsch Amerikanische Freundschaft,
The American Breed,
Fela Kuti,
Desert Stars,
Kauko Röyhkä ja Narttu,
Vainqueur,
DJ Style,
The Leaves,
Fifty Foot Hose,
Brand Nubian,
Radiopuhelimet,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.