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 Nauru and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Paris.
I'm losing my edge to the art-school Shanghai 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 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 Joe Smooth to the jazz kids.
I played it at CBGB's.
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 London Community Gospel Choir. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Gong 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
KRS-One,
Fluxion,
Louis and Bebe Barron,
Lafayette Afro Rock Band,
Barry Ungar,
Hoover,
Red Lorry Yellow Lorry,
The Velvet Underground,
Black Sheep,
Althea and Donna,
Theoretical Girls,
Siglo XX,
Glambeats Corp.,
Marc Almond,
Barclay James Harvest,
Severed Heads,
Nik Kershaw,
The Durutti Column,
Man Parrish,
Ludus,
Rapeman,
Tears for Fears,
Kas Product,
Bobby Hutcherson,
Lonnie Liston Smith,
Gregory Isaacs,
Shuggie Otis,
Duran Duran,
Pet Shop Boys,
Panda Bear,
Dawn Penn,
The Raincoats,
Nirvana,
Siouxsie and the Banshees,
Intrusion,
Gil Scott Heron,
Visionaries,LMNO, T- Love & Iriscience,
Mark Hollis,
Alton Ellis,
Matthew Halsall,
Howard Jones,
Graham Central Station,
Mantronix,
Frankie Knuckles,
Gil Scott-Heron and Jamie xx,
Dorothy Ashby,
Silicon Teens,
The Gap Band,
Pantytec,
the Swans,
Zero Boys,
Bronski Beat,
John Lydon,
Goldenarms,
Mad Mike,
The Beau Brummels,
Circle Jerks,
Grandmaster Flash and the Furious Five,
The Gun Club,
Flipper, Flipper, Flipper, Flipper.
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.