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 Angola 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 1968 to 1978.
I'm losing my edge.
To all the kids in Columbus and Lagos.
I'm losing my edge to the art-school Glasgow 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 808 sounds with much patience.
I was there when Donald Fagen 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 Alison Limerick to the electroclash kids.
I played it at the Hacienda.
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 Monks. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
The Cure,
The Zeros,
The Searchers,
Black Pus,
Deakin,
Technova,
The Men They Couldn't Hang,
a-ha,
Nas,
Mark Hollis,
48th St. Collective,
Arthur Verocai,
Soulsonic Force,
Vaughan Mason & Crew,
Rowland S Howard / Lydia Lunch,
Aaron Thompson,
Matthew Bourne,
Can,
Marcia Griffiths,
The Smoke,
Banda Bassotti,
Deadbeat,
Girls At Our Best!,
Dead Boys,
Guru Guru,
Mars,
Nils Olav,
D'Angelo,
The Seeds,
Fugazi,
Minnie Riperton,
Joey Negro,
Robert Görl,
Quantec,
Blancmange,
Whodini,
Tubeway Army,
Thompson Twins,
Crispy Ambulance,
Davy DMX,
Johnny Osbourne,
Ultra Naté,
Roxette,
Kool G Rap & DJ Polo,
Moss Icon,
The Knickerbockers,
Dawn Penn,
Glenn Branca,
Alison Limerick,
The Gap Band,
Bobby Sherman,
Michelle Simonal,
Barrington Levy,
R.M.O.,
Absolute Body Control,
Delta 5,
Ituana,
Bang on a Can All-Stars,
The Wake,
Nik Kershaw,
Jandek,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.