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 Argentina and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1978.
I'm losing my edge.
To all the kids in New York and Mexico City.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Richard Hell and the Voidoids to the jazz 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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Barry Ungar,
Jesper Dahlbäck,
Lindisfarne,
Henry Cow,
DNA,
Minor Threat,
The Moleskins,
Ten City,
Delon & Dalcan,
Archie Shepp,
The Techniques,
Maleditus Sound,
Albert Ayler,
The West Coast Pop Art Experimental Band,
Swans,
Lebanon Hanover,
The Fire Engines,
Yellowson,
MDC,
Blossom Toes,
The Misunderstood,
This Heat,
Parry Music,
Gil Scott-Heron and Jamie xx,
Slave,
Can,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Monolake,
Los Fastidios,
Bobby Hutcherson,
Bad Manners,
Sonny Sharrock,
Unwound,
Man Parrish,
Interpol,
Icehouse,
Bootsy Collins,
Buzzcocks,
The Durutti Column,
Tommy Roe,
The Smoke,
Lakeside,
Barclay James Harvest,
The Birthday Party,
Bang On A Can,
Massinfluence,
Banda Bassotti,
Zero Boys,
Maurizio,
Louis and Bebe Barron,
Throbbing Gristle,
Wire,
Fat Boys,
John Lydon,
Bang on a Can All-Stars,
The Motions,
Bill Near,
Cecil Taylor,
Ronnie Foster,
The Cosmic Jokers,
PIL,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.