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 Dominica and from Stockholm.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
I'm losing my edge to the art-school Lille 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 guitar sounds with much patience.
I was there when Holger Czukay 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 The Mummies to the grunge kids.
I played it at the Troubador.
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 Soft Cell. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Tropical Tobacco 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
The Monks,
Soulsonic Force,
Marc Almond,
Wolf Eyes,
Derrick May,
A Certain Ratio,
The Gap Band,
Gang of Four,
One Last Wish,
Jerry Gold Smith,
Drexciya,
Vladislav Delay,
Banda Bassotti,
Mantronix,
Jesper Dahlback,
Funkadelic,
Bill Wells,
Prince Buster,
Rhythm & Sound,
MDC,
Minor Threat,
Country Teasers,
Sam Rivers,
James White and The Blacks,
Pole,
The Fall,
Aloha Tigers,
The Golliwogs,
Scott Walker,
Todd Terry,
Infiniti,
Jacques Brel,
Stockholm Monsters,
Rotary Connection,
Supertramp,
Television,
The Remains,
Major Organ And The Adding Machine,
This Heat,
Heavy D & The Boyz,
Model 500,
Slick Rick,
It's A Beautiful Day,
Matthew Bourne,
Nik Kershaw,
Brass Construction,
Brick,
Robert Wyatt,
Ash Ra Tempel,
Rites of Spring,
Negative Approach,
Nas,
Neil Young,
Pulsallama,
Essential Logic,
Gil Scott Heron,
Alphaville,
Funky Four + One,
Popol Vuh,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.