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 Panama and from Manila.
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 1979.
I'm losing my edge.
To all the kids in Manila and New York.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Pulsallama to the jazz kids.
I played it at the Hacienda.
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 The Detroit Cobras. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Pylon,
Tubeway Army,
Bobby Womack,
Hardrive,
Danielle Patucci,
Leonard Cohen,
June of 44,
Camberwell Now,
Sight & Sound,
John Cale,
Pierre Henry,
Matthew Halsall,
Peter and Kerry,
Anakelly,
Gregory Isaacs,
Kenny Larkin,
Ultravox,
The Dirtbombs,
Ohio Players,
Josef K,
Unrelated Segments,
Crooked Eye,
Moby Grape,
Pagans,
Jandek,
Arcadia,
Altered Images,
the Sonics,
Slick Rick,
The Blues Magoos,
The Raincoats,
Davy DMX,
Niagra,
Skriet,
Quando Quango,
Sonny Sharrock,
The Techniques,
Derrick Morgan,
Silicon Teens,
Robert Hood,
the Human League,
The Victims,
Japan,
Neil Young,
Bizarre Inc.,
Bill Near,
Q65,
Depeche Mode,
Deadbeat,
Clear Light,
Derrick May,
Howard Jones,
Siouxsie and the Banshees,
The Gap Band,
Delon & Dalcan,
The Music Machine,
Notorious BIG live in Amsterdam,
New Order,
Mantronix,
Frankie Knuckles,
The Pretty Things,
Half Japanese,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.