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 Angola and from Lagos.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Columbus and Madrid.
I'm losing my edge to the art-school Calgary 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron 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 Mark Hollis to the dance kids.
I played it at the Astoria.
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 Larry & the Blue Notes. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
T.S.O.L.,
The Fugs,
The Grass Roots,
The Stooges,
Eric Copeland,
Maurizio,
Motorama,
Don Cherry,
Stereo Dub,
R.M.O.,
Masters at Work,
Anthony Braxton,
The Slits,
Boogie Down Productions,
Throbbing Gristle,
Rotary Connection,
The Index,
Lalo Schifrin,
Lou Reed & Metallica,
Fifty Foot Hose,
Lafayette Afro Rock Band,
Panda Bear,
Warsaw,
Kaleidoscope,
Neu!,
Pete Rock & C.L. Smooth,
John Coltrane,
Youth Brigade,
Pole,
Sun City Girls,
Visage,
David McCallum,
The Walker Brothers,
Erasure,
June of 44,
Qualms,
June Days,
Nico,
Derrick May,
John Cale,
The Move,
Tropical Tobacco,
Altered Images,
Be Bop Deluxe,
Super Lover Cee & Casanova Rud,
the Association,
Parry Music,
Black Sheep,
Juan Atkins,
Oneida,
CMW,
Terrestrial Tones,
The Saints,
The Neon Judgement,
Art Ensemble Of Chicago,
Black Flag,
The Sisters of Mercy,
Stockholm Monsters,
B.T. Express,
Rapeman, Rapeman, Rapeman, Rapeman.
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.