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 Bangladesh 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 1964 to 1971.
I'm losing my edge.
To all the kids in Salvador and Manila.
I'm losing my edge to the art-school Spokane 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Reagan Youth to the jazz 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 Q and Not U. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Subhumans,
Aswad,
Gichy Dan,
Gian Franco Pienzio,
Massinfluence,
Scion,
Dorothy Ashby,
Jesper Dahlback,
China Crisis,
Stereo Dub,
Minor Threat,
Marcia Griffiths,
Deepchord,
Rakim,
Technova,
The Human League,
Slave,
the Slits,
Toni Rubio,
The Victims,
Rhythm & Sound,
Terrestrial Tones,
Derrick May,
Hashim,
London Community Gospel Choir,
Blossom Toes,
The J.B.'s,
Röyhkä ja Rättö ja Lehtisalo,
Funky Four + One,
Blake Baxter,
Soul Sonic Force,
Derrick Morgan,
Roxy Music,
Maleditus Sound,
the Fania All-Stars,
Kool Moe Dee,
Reagan Youth,
Chris Corsano,
Pulsallama,
Liliput,
Bobby Womack,
Terry Callier,
Barry Ungar,
Echo & the Bunnymen,
Stetsasonic,
Cheater Slicks,
The Pop Group,
The Cosmic Jokers,
The Residents,
Stiv Bators,
Neu!,
Super Lover Cee & Casanova Rud,
Eve St. Jones,
Man Parrish,
Arab on Radar,
Rites of Spring,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.