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 South Sudan and from Manchester.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Cairo and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the clarinet 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 The Doors to the rock kids.
I played it at the Spitz.
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 Rod Modell. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Deepchord 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 '70s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Susan Cadogan,
Laurel Aitken,
the Sonics,
CMW,
Marcia Griffiths,
Saccharine Trust,
DeepChord presents Echospace,
Throbbing Gristle,
Harry Pussy,
Fluxion,
Sarah Menescal,
Chris & Cosey,
Man Eating Sloth,
The Last Poets,
Girls At Our Best!,
Rowland S Howard / Lydia Lunch,
The Wake,
Aaron Thompson,
Michelle Simonal,
Vladislav Delay,
Minutemen,
A Flock of Seagulls,
Teenage Jesus and the Jerks,
ABC,
Von Mondo,
Buzzcocks,
Dual Sessions,
Radio Birdman,
48th St. Collective,
Goldenarms,
Procol Harum,
Unrelated Segments,
Pylon,
June of 44,
Echo & the Bunnymen,
the Association,
Crime,
Howard Jones,
Althea and Donna,
Surgeon,
Zapp,
Fela Kuti,
Neil Young & Crazy Horse,
Joe Finger,
Kevin Saunderson,
The Index,
Max Romeo,
Hashim,
Grauzone,
Cameo,
The American Breed,
Joey Negro,
Kings Of Tomorrow,
Red Lorry Yellow Lorry,
Rhythim Is Rhythim,
Cecil Taylor,
Mars,
Skarface,
UT,
Joensuu 1685,
U.S. Maple,
Amon Düül II,
Bob Dylan,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.