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 Peru and from Copenhagen.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lyon and Edmonton.
I'm losing my edge to the art-school Columbus 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 Deadbeat to the funk kids.
I played it at the Crocodile.
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 Toni Rubio. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Q and Not U,
T. Rex,
The J.B.'s,
Todd Rundgren,
De La Soul & Jungle Brothers,
Johnny Osbourne,
Roxette,
Yellowson,
Orchestral Manoeuvres in the Dark,
Skarface,
Schoolly D,
Wings,
F. McDonald,
Dead Boys,
Television Personalities,
Eric Dolphy,
the Germs,
Duran Duran,
The Blues Magoos,
Amazonics,
T.S.O.L.,
Alice Coltrane,
Agitation Free,
Black Pus,
Bluetip,
Tommy Roe,
Laurel Aitken,
Average White Band,
Masters at Work,
Eyeless In Gaza,
Curtis Mayfield,
Fort Wilson Riot,
Judy Mowatt,
Derrick May,
Barbara Tucker,
The Men They Couldn't Hang,
Marc Romboy vs. Booka Shade,
It's A Beautiful Day,
Silicon Teens,
Arthur Verocai,
Aaron Thompson,
Gil Scott Heron,
Jeff Lynne,
The Gap Band,
The Blackbyrds,
Underground Resistance,
The Happenings,
Camberwell Now,
The Birthday Party,
Sunsets and Hearts,
D'Angelo,
Be Bop Deluxe,
These Immortal Souls,
Au Pairs,
Interpol,
John Coltrane,
Unrelated Segments,
Juan Atkins,
The Detroit Cobras,
The Red Krayola,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.