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 Uruguay and from Spokane.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Man Eating Sloth to the grunge kids.
I played it at the Roxy.
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 Electric Prunes. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Brick record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Angry Samoans,
The Doors,
Sun Ra Arkestra,
Echo & the Bunnymen,
Black Bananas,
Marshall Jefferson,
Piero Umiliani,
The Slackers,
Slave,
Joe Finger,
Technova,
Peter Gordon & Love of Life Orchestra,
Eurythmics,
Harmonia,
Jacques Brel,
Gil Scott-Heron & Brian Jackson,
Peter and Kerry,
One Last Wish,
Mary Jane Girls,
Althea and Donna,
Scan 7,
Sonic Youth,
Andrew Ashong & Theo Parrish,
Ultramagnetic MC's,
The Flesh Eaters,
Qualms,
Niagra,
Aswad,
Clear Light,
Soft Machine,
48th St. Collective,
Sly & The Family Stone,
The Fall,
Pylon,
Peter & Gordon,
Blossom Toes,
The Mummies,
Visage,
Sad Lovers and Giants,
Toni Rubio,
Organ,
Absolute Body Control,
The Remains,
The Skatalites,
The American Breed,
Magazine,
Teenage Jesus and the Jerks,
Crispy Ambulance,
Grandmaster Flash and the Furious Five,
Yusef Lateef,
Strawberry Alarm Clock,
Siouxsie and the Banshees,
Sugar Minott,
The Mighty Diamonds,
Rowland S Howard / Lydia Lunch,
FM Einheit,
Glambeats Corp.,
Camouflage,
Lizzy Mercier Descloux,
Tropical Tobacco,
Suicide, Suicide, Suicide, Suicide.
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.