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 Tuvalu and from Halifax.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Mexico City 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 oboe 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 Rhythm & Sound to the rock kids.
I played it at the 40 Watt.
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 a-ha. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every 8 Eyed Spy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
Main Source,
Ultramagnetic MC's,
Flipper,
the Human League,
48th St. Collective,
Amon Düül II,
Bob Dylan,
Stiv Bators,
Lalo Schifrin,
The Fugs,
Black Pus,
Intrusion,
The Tremeloes,
Barrington Levy,
Beasts of Bourbon,
June Days,
AZ,
The Blues Magoos,
Radiohead,
Basic Channel,
Al Stewart,
Saccharine Trust,
Sun Ra Arkestra,
Arthur Verocai,
Mad Mike,
Godley & Creme,
Swans,
Country Teasers,
The Mojo Men,
the Association,
Terry Callier,
the Germs,
Delta 5,
Bill Wells,
The Techniques,
Mark Hollis,
Nick Cave & The Bad Seeds,
David McCallum,
Ultravox,
The Slackers,
Goldenarms,
Max Romeo,
Monolake,
Pylon,
Glenn Branca,
Theoretical Girls,
Scion,
Pharoah Sanders,
Public Image Ltd.,
Don Cherry,
Sly & The Family Stone,
Erasure,
Röyhkä ja Rättö ja Lehtisalo,
Mandrill,
Procol Harum,
Bobby Byrd,
Iggy Pop,
Surgeon,
Electric Prunes,
Angels of Light & Akron/Family,
the Soft Cell,
Peter and Kerry,
Heaven 17,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.