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 Zimbabwe and from Johannesburg.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Stockholm.
I'm losing my edge to the art-school Woodstock 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 snare 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 Q65 to the grunge kids.
I played it at the Spitz.
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 Zero Boys. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every The Velvet Underground 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 rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Ten City,
Sällskapet,
Main Source,
Roy Ayers,
Soul II Soul,
Dark Day,
John Lydon,
Eve St. Jones,
Röyhkä ja Rättö ja Lehtisalo,
Quantec,
Super Lover Cee & Casanova Rud,
MDC,
Gil Scott-Heron & Brian Jackson,
LL Cool J,
Erasure,
UT,
Sexual Harrassment,
Selector Dub Narcotic,
Kaleidoscope,
Ultravox,
Lou Christie,
Kevin Saunderson,
Kas Product,
Pere Ubu,
Sun City Girls,
The Leaves,
the Soft Cell,
Amazonics,
Groovy Waters,
The Techniques,
Bob Dylan,
Q65,
Panda Bear,
Alison Limerick,
Terror Squad Feat. Camron,
Desert Stars,
Byron Stingily,
Minor Threat,
Michelle Simonal,
the Slits,
Bill Near,
Sugar Minott,
Ken Boothe,
Warren Ellis,
Tom Boy,
Moebius,
Wire,
The Dirtbombs,
Stetsasonic,
Inner City,
Malaria!,
Mo-Dettes,
Juan Atkins,
Niagra,
Fad Gadget,
Charles Mingus,
Kool G Rap & DJ Polo,
Aaron Thompson,
Excepter,
A Certain Ratio,
Skaos,
Peter and Kerry,
X-Ray Spex,
Black Flag, Black Flag, Black Flag, Black Flag.
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.