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 Tanzania and from Mumbai.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Madrid and Edmonton.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 Monolake to the disco kids.
I played it at the 40 Watt.
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 Slits. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every CMW 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Hoover,
Terry Callier,
Clear Light,
Con Funk Shun,
The Star Department,
Deutsch Amerikanische Freundschaft,
Bill Near,
Eric B and Rakim,
The Sonics,
cv313,
Ash Ra Tempel,
Sound Behaviour,
Nils Olav,
Vaughan Mason & Crew,
Sandy B,
The Fall,
Accadde A,
Lindisfarne,
the Sonics,
Magma,
Gil Scott-Heron & Brian Jackson,
The Slits,
a-ha,
Zero Boys,
Janne Schatter,
Ponytail,
Delon & Dalcan,
Siouxsie and the Banshees,
Joensuu 1685,
New York Dolls,
The Shadows of Knight,
The Moody Blues,
Von Mondo,
Minutemen,
Alphaville,
Scientists,
Fad Gadget,
Rakim,
Rhythim Is Rhythim,
Fluxion,
The Saints,
Joe Smooth,
Ultimate Spinach,
Amazonics,
Fatback Band,
Manfred Mann's Earth Band,
K-Klass,
the Association,
The Electric Prunes,
Orchestral Manoeuvres in the Dark,
Faraquet,
DeepChord presents Echospace,
Bronski Beat,
Suburban Knight,
Bootsy Collins,
Desert Stars,
Brothers Johnson,
The Knickerbockers,
Cecil Taylor,
New Order,
Public Image Ltd.,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.