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 Lebanon and from Salvador.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Halifax and Bremen.
I'm losing my edge to the art-school Stockholm 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Rosa Yemen to the disco kids.
I played it at the Troubador.
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 Kenny Larkin. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
The Tremeloes,
Moby Grape,
Sun Ra Arkestra,
Tom Boy,
Interpol,
the Slits,
Lou Christie,
Glenn Branca,
R.M.O.,
K-Klass,
Adolescents,
Cabaret Voltaire,
Todd Terry,
Groovy Waters,
Lindisfarne,
Harry Pussy,
KRS-One,
Bobbi Humphrey,
Jeru the Damaja,
Bauhaus,
Scott Walker + Sunn O))),
ABC,
Cecil Taylor,
Rakim,
Jacques Brel,
Iggy Pop,
Monks,
Visionaries,LMNO, T- Love & Iriscience,
Röyhkä ja Rättö ja Lehtisalo,
Buzzcocks,
John Foxx,
Funkadelic,
Boz Scaggs,
Nation of Ulysses,
Orchestral Manoeuvres in the Dark,
AZ,
Cluster,
Main Source,
Pulsallama,
Henry Cow,
Kayak,
Andrew Ashong & Theo Parrish,
Marc Almond,
Saccharine Trust,
The Alarm Clocks,
Minutemen,
Delta 5,
Babytalk,
Andrew Hill,
Angels of Light & Akron/Family,
The Blackbyrds,
The Jesus and Mary Chain,
Max Romeo,
Toni Rubio,
Bad Manners,
The Zeros,
Theoretical Girls,
OOIOO, OOIOO, OOIOO, OOIOO.
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.