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 Turkmenistan and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Milan and Lyon.
I'm losing my edge to the art-school Jakarta 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 theremin sounds with much patience.
I was there when Robert Palmer 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 kango's stein massive to the grime 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 Shoche. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
The Gun Club,
Absolute Body Control,
The Litter,
Glenn Branca,
the Slits,
Dorothy Ashby,
New Age Steppers,
Television Personalities,
Yaz,
Motorama,
DeepChord presents Echospace,
The Blackbyrds,
Terrestrial Tones,
Second Layer,
LL Cool J,
New York Dolls,
Throbbing Gristle,
Spandau Ballet,
Silicon Teens,
Lucky Dragons,
Scion,
Marc Almond,
Gastr Del Sol,
Oppenheimer Analysis,
Scientists,
The Beau Brummels,
Eve St. Jones,
The Monks,
Model 500,
Radiopuhelimet,
Aaron Thompson,
Jesper Dahlback,
The Toasters,
Prince Buster,
Ralphi Rosario,
Ken Boothe,
Angry Samoans,
Moss Icon,
Oblivians,
The Fortunes,
Notorious BIG live in Amsterdam,
Shuggie Otis,
Swans,
Eric Dolphy,
Camberwell Now,
Liaisons Dangereuses,
Alice Coltrane,
Massinfluence,
Urselle,
The Fuzztones,
The Sisters of Mercy,
Bob Dylan,
Unwound,
The Happenings,
Suburban Knight,
Ponytail,
Stockholm Monsters,
Marmalade,
Con Funk Shun,
Jeff Mills,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.