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 Liberia and from Philadelphia.
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 1975.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Shanghai 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 arpeggiator 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 Residents to the electroclash kids.
I played it at the 40 Watt.
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 Bizarre Inc.. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Deadbeat 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Easy Going,
DJ Sneak,
Banda Bassotti,
Bang on a Can All-Stars,
Jesper Dahlbäck,
The Fuzztones,
The Grass Roots,
Q65,
the Bar-Kays,
Neu!,
Quadrant,
The Gap Band,
Yellowson,
Teenage Jesus and the Jerks,
The Motions,
Intrusion,
Wire,
The Stooges,
kango's stein massive,
The Standells,
Ornette Coleman,
The Fugs,
Index,
DNA,
Andrew Ashong & Theo Parrish,
Soft Cell,
Glambeats Corp.,
Radiopuhelimet,
Wolf Eyes,
Kaleidoscope,
Royal Trux,
Kenny Larkin,
John Coltrane,
The Seeds,
The Velvet Underground,
Fugazi,
The Zeros,
Flipper,
Vaughan Mason & Crew,
Amon Düül,
The Doobie Brothers,
The Leaves,
Audionom,
Mandrill,
Yazoo,
Bobby Womack,
Heavy D & The Boyz,
Lakeside,
Rahsaan Roland Kirk,
The Residents,
Minor Threat,
Strawberry Alarm Clock,
Nick Fraelich,
The Pop Group,
Saccharine Trust,
Bootsy's Rubber Band,
Camberwell Now,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hasil Adkins,
Anthony Braxton,
The American Breed, The American Breed, The American Breed, The American Breed.
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.