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 Senegal 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 1961 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
I'm losing my edge to the art-school Columbus 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Shoche to the dance 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 Minor Threat. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Maurizio,
Buzzcocks,
Derrick May,
Niagra,
Jacques Brel,
Outsiders,
Brick,
Donald Byrd,
Cabaret Voltaire,
The Gap Band,
The Toasters,
Stereo Dub,
The Durutti Column,
The Doobie Brothers,
Spandau Ballet,
Eyeless In Gaza,
The Victims,
Mo-Dettes,
Nick Fraelich,
Fad Gadget,
Lalo Schifrin,
The Neon Judgement,
Gong,
Max Romeo,
The Motions,
Faust,
DeepChord presents Echospace,
Mandrill,
Gabor Szabo,
MC5,
Red Lorry Yellow Lorry,
The Doors,
Symarip,
Bobby Sherman,
Fifty Foot Hose,
Louis and Bebe Barron,
The Pretty Things,
Soul Sonic Force,
Essential Logic,
The Mighty Diamonds,
Bobbi Humphrey,
Dead Boys,
EPMD,
Eve St. Jones,
Prince Buster,
Warren Ellis,
Man Parrish,
The Blackbyrds,
Steve Hackett,
The Dave Clark Five,
Agitation Free,
The Index,
Alphaville,
Grandmaster Flash and the Furious Five,
Beasts of Bourbon,
X-101,
Sonny Sharrock,
OOIOO,
The Zeros,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.