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 Nepal and from Lagos.
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 1974.
I'm losing my edge.
To all the kids in Winnipeg and Lyon.
I'm losing my edge to the art-school Bremen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar sounds with much patience.
I was there when David Bowie 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 Curtis Mayfield to the electroclash kids.
I played it at the Spitz.
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 Throbbing Gristle. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Kurtis Blow,
The Standells,
Fifty Foot Hose,
Public Image Ltd.,
Yaz,
Oneida,
Porter Ricks,
The Motions,
Marc Almond,
John Coltrane,
EPMD,
The Grass Roots,
Moby Grape,
Cameo,
DNA,
Monolake,
Television Personalities,
Albert Ayler,
AZ,
The Happenings,
Jandek,
Leonard Cohen,
The Slackers,
Animal Collective,
Qualms,
Bobby Hutcherson,
H. Thieme,
Ultramagnetic MC's,
Bill Wells,
Kauko Röyhkä ja Narttu,
Lee Hazlewood,
Quando Quango,
Lakeside,
Nico,
The Slits,
Deakin,
the Swans,
Carl Craig,
The Leaves,
Jeff Mills,
Thompson Twins,
cv313,
Bang on a Can All-Stars,
Avey Tare,
Grandmaster Flash and the Furious Five,
Audionom,
Heaven 17,
Big Daddy Kane,
Piero Umiliani,
Quadrant,
Eve St. Jones,
Jacob Miller,
Barclay James Harvest,
Terrestrial Tones,
Accadde A,
Model 500,
Susan Cadogan,
Red Lorry Yellow Lorry,
Selector Dub Narcotic,
Zapp,
the Slits, the Slits, the Slits, the Slits.
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.