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 Peru and from Taipei.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Lille and Houston.
I'm losing my edge to the art-school New York 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Nik Kershaw to the funk kids.
I played it at the Crocodile.
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 Gabor Szabo. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Eyeless In Gaza,
Dawn Penn,
the Swans,
Charles Mingus,
James Chance & The Contortions,
Suicide,
Mary Jane Girls,
Camron Feat. Jay Z And Juelz,
Lungfish,
Tres Demented,
Ponytail,
Anakelly,
Sight & Sound,
Brothers Johnson,
Rod Modell,
Alice Coltrane,
Jimmy McGriff,
Andrew Hill,
Bootsy's Rubber Band,
Teenage Jesus and the Jerks,
Goldenarms,
Ajijia Myrayebe,
Underground Resistance,
Slick Rick,
Franke,
Bronski Beat,
Robert Wyatt,
Jacques Brel,
Jesper Dahlback,
The Walker Brothers,
The Moleskins,
Lower 48,
The Doors,
Eddi Front,
Visionaries,LMNO, T- Love & Iriscience,
Pere Ubu,
Accadde A,
Ornette Coleman,
Bad Manners,
Deadbeat,
Altered Images,
Jeff Mills,
Eden Ahbez,
Buzzcocks,
Mars,
Echospace,
Zapp,
Model 500,
Crash Course in Science,
Lizzy Mercier Descloux,
Gang Gang Dance,
Lyres,
Swell Maps,
Aural Exciters,
Dave Gahan,
Guru Guru,
Organ,
The Searchers,
Basic Channel,
Traffic Nightmare,
The Wake, The Wake, The Wake, The Wake.
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.