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 Morocco and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Manchester 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 Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Roy Ayers Ubiquity to the disco kids.
I played it at the 40 Watt.
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 The Selecter. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal crunk 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 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pretty Things,
Derrick May,
Erasure,
Johnny Clarke,
Roxy Music,
The Cowsills,
Aural Exciters,
the Fania All-Stars,
Outsiders,
Moebius,
Siouxsie and the Banshees,
Al Stewart,
Magazine,
James Chance & The Contortions,
Marvin Gaye,
Echo & the Bunnymen,
The Cure,
the Human League,
Jeff Lynne,
Janne Schatter,
Electric Light Orchestra,
Swans,
The Divine Comedy,
Pulsallama,
Saccharine Trust,
Section 25,
Groovy Waters,
T. Rex,
June of 44,
Ponytail,
Banda Bassotti,
Louis and Bebe Barron,
Q and Not U,
Fad Gadget,
Archie Shepp,
Rufus Thomas,
Robert Wyatt,
Aaron Thompson,
Kas Product,
Technova,
The Dave Clark Five,
John Holt,
Hasil Adkins,
The Trojans,
Sarah Menescal,
Thinking Fellers Union Local 282,
Stockholm Monsters,
Motorama,
Jesper Dahlbäck,
Matthew Halsall,
Surgeon,
Steve Hackett,
Moby Grape,
Crime,
U.S. Maple,
cv313,
Man Parrish,
Eve St. Jones,
The Birthday Party,
Laurel Aitken,
Camberwell Now,
Brand Nubian,
Audionom, Audionom, Audionom, Audionom.
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.