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 Solomon Islands and from Lille.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Houston and Lagos.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 Swans to the rap 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 Fort Wilson Riot. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
The Monks,
Blancmange,
Man Parrish,
the Swans,
Sly & The Family Stone,
Black Sheep,
Be Bop Deluxe,
Cabaret Voltaire,
Gil Scott-Heron & Brian Jackson,
Nas,
The Slackers,
Gary Puckett & The Union Gap,
The Fuzztones,
Lalann,
Absolute Body Control,
Robert Wyatt,
Patti Smith,
Jimmy McGriff,
The Alarm Clocks,
Crispy Ambulance,
Crime,
Eric Copeland,
The Cramps,
The Count Five,
JFA,
Ultravox,
Rowland S Howard / Lydia Lunch,
Subhumans,
Sällskapet,
Pussy Galore,
Nirvana,
Howard Jones,
Josef K,
Nick Fraelich,
Bang On A Can,
10cc,
Henry Cow,
Shuggie Otis,
Susan Cadogan,
Yellowson,
Interpol,
Theoretical Girls,
AZ,
Girls At Our Best!,
Thompson Twins,
Angry Samoans,
Dawn Penn,
Johnny Osbourne,
Make Up,
Oppenheimer Analysis,
Juan Atkins,
Simply Red,
Teenage Jesus and the Jerks,
Visionaries,LMNO, T- Love & Iriscience,
Mantronix,
the Bar-Kays,
Louis and Bebe Barron,
Index,
Desert Stars,
Major Organ And The Adding Machine,
Audionom,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.