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 Cuba and from Houston.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Lyon and Portland.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Tommy Roe to the grime kids.
I played it at Cafe Wha.
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 Toasters. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Nico,
Gil Scott-Heron & Brian Jackson,
The West Coast Pop Art Experimental Band,
The Velvet Underground,
Mad Mike,
Zapp,
Röyhkä ja Rättö ja Lehtisalo,
The Vogues,
Bizarre Inc.,
The Tremeloes,
Aural Exciters,
Erasure,
the Normal,
The Human League,
Shuggie Otis,
Franke,
Electric Light Orchestra,
Eve St. Jones,
Make Up,
Ituana,
ABBA,
Icehouse,
Soft Cell,
Oppenheimer Analysis,
Susan Cadogan,
The Peanut Butter Conspiracy,
L. Decosne,
Eli Mardock,
Lee Hazlewood,
Swell Maps,
Slick Rick,
The Evens,
Ultramagnetic MC's,
Brass Construction,
PIL,
Fugazi,
Kango’s Stein Massive,
Nick Cave & The Bad Seeds,
Malaria!,
Siglo XX,
Rhythm & Sound,
Radiohead,
the Germs,
Khruangbin,
The Black Dice,
The Residents,
Can,
Cybotron,
Trumans Water,
Subhumans,
China Crisis,
Crooked Eye,
Ultra Naté,
Richard Hell and the Voidoids,
The Doobie Brothers,
Rowland S Howard / Lydia Lunch,
Sexual Harrassment,
Juan Atkins,
The Fuzztones,
Ultravox,
Black Flag,
K-Klass,
KRS-One, KRS-One, KRS-One, KRS-One.
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.