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 Toronto.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Columbus and Taipei.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer 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 Howard Jones to the rap kids.
I played it at Trash.
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 Amon Düül II. All the underground hits.
All DNA tracks. I heard you have a vinyl of every The Monochrome Set 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Masters at Work,
Q and Not U,
Clear Light,
Dark Day,
Gil Scott-Heron & Brian Jackson,
Warren Ellis,
E-Dancer,
Supertramp,
John Coltrane,
A Flock of Seagulls,
Roy Ayers Ubiquity,
Moby Grape,
The Fortunes,
Fat Boys,
The Wake,
Grauzone,
Flamin' Groovies,
Altered Images,
Kevin Saunderson,
Sexual Harrassment,
Mission of Burma,
Pantytec,
Bronski Beat,
R.M.O.,
The Pretty Things,
Unrelated Segments,
Thompson Twins,
The Techniques,
Avey Tare's Slasher Flicks,
Joensuu 1685,
Youth Brigade,
The Golliwogs,
Slave,
Graham Central Station,
The Cure,
The Detroit Cobras,
Absolute Body Control,
Gil Scott Heron,
N.O.R.E. Featuring Pharrell,
Zero Boys,
Ice-T,
David McCallum,
Nick Cave & The Bad Seeds,
Sound Behaviour,
Big Daddy Kane,
Crispy Ambulance,
Accadde A,
Stereo Dub,
Animal Collective,
Althea and Donna,
Lindisfarne,
Lower 48,
Crime,
cv313,
Gong,
Lightning Bolt,
The Modern Lovers,
Minutemen,
Vainqueur,
Stockholm Monsters,
Terrestrial Tones,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.