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 Cape Verde and from Copenhagen.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Mumbai.
I'm losing my edge to the art-school Cairo 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 guitar sounds with much patience.
I was there when Michael McDonald 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 The Vogues to the rock kids.
I played it at CBGB's.
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 Letta Mbulu. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your organ and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Ohio Players,
Orchestral Manoeuvres in the Dark,
The Motions,
Bad Manners,
Minutemen,
Maurizio,
Kas Product,
Danielle Patucci,
Alton Ellis,
Amazonics,
Dorothy Ashby,
Siglo XX,
New York Dolls,
Mars,
Livin' Joy,
Alphaville,
Rotary Connection,
Hot Snakes,
The Kinks,
Reuben Wilson,
Black Moon,
Ronan,
Heavy D & The Boyz,
Rod Modell,
The Electric Prunes,
The Peanut Butter Conspiracy,
Rufus Thomas,
CMW,
Massinfluence,
Black Flag,
Jesper Dahlbäck,
Grandmaster Flash and the Furious Five,
Parry Music,
The Blues Magoos,
Marshall Jefferson,
Alison Limerick,
The Sonics,
Pagans,
Roxette,
Roy Ayers Ubiquity,
Kerrie Biddell,
Section 25,
Joensuu 1685,
The Litter,
Half Japanese,
Masters at Work,
Eric Dolphy,
Barrington Levy,
The West Coast Pop Art Experimental Band,
Toni Rubio,
Jandek,
Skarface,
Ornette Coleman,
X-101,
Gang of Four,
The Fall,
Teenage Jesus and the Jerks,
The Smiths,
Sex Pistols,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.