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 Uzbekistan and from Beijing.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Woodstock.
I'm losing my edge to the art-school Tehran 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 Wire practice in a loft in Watford.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Alton Ellis to the rap kids.
I played it at Cafe Wha.
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 Lungfish. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every John Foxx 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
The Sisters of Mercy,
Depeche Mode,
Rhythm & Sound,
Tropical Tobacco,
Anakelly,
The Jesus and Mary Chain,
Strawberry Alarm Clock,
Funky Four + One,
David Bowie,
The Move,
CMW,
Cal Tjader,
The Neon Judgement,
Minutemen,
DJ Style,
Tommy Roe,
Tomorrow,
Archie Shepp,
Mars,
Oneida,
The United States of America,
Average White Band,
Soft Machine,
Pylon,
Patti Smith,
The Walker Brothers,
Cymande,
Ludus,
Adolescents,
Delta 5,
Boredoms,
Jeff Mills,
Liaisons Dangereuses,
Aswad,
Joey Negro,
Can,
Jesper Dahlback,
Eve St. Jones,
Matthew Bourne,
Blancmange,
Gil Scott Heron,
U.S. Maple,
Sly & The Family Stone,
Fela Kuti,
Marcia Griffiths,
Ice-T,
Negative Approach,
Terry Callier,
Mary Jane Girls,
Skarface,
Röyhkä ja Rättö ja Lehtisalo,
Scratch Acid,
Desert Stars,
Notorious Big And Bone Thugs,
Grandmaster Flash,
Girls At Our Best!,
Traffic Nightmare,
A Flock of Seagulls,
The Mighty Diamonds,
Qualms,
Bang On A Can,
Panda Bear,
Little Man, Little Man, Little Man, Little Man.
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.