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 Burkina and from Mexico City.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Lyon and Beijing.
I'm losing my edge to the art-school Woodstock 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 sitar 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 Popol Vuh to the crunk 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 Brass Construction. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every The Dirtbombs 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Laurel Aitken,
Average White Band,
Dual Sessions,
a-ha,
Ash Ra Tempel,
Joe Smooth,
Second Layer,
Eric Dolphy,
cv313,
Roger Hodgson,
48th St. Collective,
Gregory Isaacs,
Funky Four + One,
the Germs,
Saccharine Trust,
Justin Hinds & The Dominoes,
B.T. Express,
Juan Atkins,
Rekid,
Grandmaster Flash and the Furious Five,
Aaron Thompson,
Cabaret Voltaire,
L. Decosne,
Röyhkä ja Rättö ja Lehtisalo,
Neu!,
Arcadia,
Vaughan Mason & Crew,
The Fuzztones,
In Retrospect,
Sam Rivers,
Procol Harum,
Mad Mike,
Cluster,
Bush Tetras,
Patti Smith,
Pagans,
The Barracudas,
These Immortal Souls,
Eurythmics,
Deadbeat,
Ajijia Myrayebe,
Michelle Simonal,
Negative Approach,
Kerri Chandler,
The Happenings,
Boz Scaggs,
F. McDonald,
Jerry Gold Smith,
John Holt,
Masters at Work,
Sun Ra Arkestra,
New Age Steppers,
The Doors,
Pantytec,
Little Man,
The Remains,
Chrome,
Warren Ellis,
Trumans Water,
The Alarm Clocks,
Gang of Four,
Half Japanese,
Prince Buster, Prince Buster, Prince Buster, Prince Buster.
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.