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 Portugal and from Cairo.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
I'm losing my edge to the art-school Mexico City 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 Holger Czukay 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 Names 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 Bill Wells. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
The Busters,
the Soft Cell,
Absolute Body Control,
Clear Light,
Flash Fearless,
JFA,
Pussy Galore,
Leonard Cohen,
Lou Reed,
Davy DMX,
Tres Demented,
Robert Hood,
Gong,
Section 25,
Ronnie Foster,
Altered Images,
Ohio Players,
The Star Department,
Con Funk Shun,
Tim Buckley,
Little Man,
New York Dolls,
Roy Ayers,
Royal Trux,
Robert Wyatt,
The Modern Lovers,
The Skatalites,
The Fall,
Sarah Menescal,
Dawn Penn,
Monks,
Model 500,
Inner City,
Notorious Big And Bone Thugs,
Supertramp,
Dorothy Ashby,
Simply Red,
Kenny Larkin,
Alice Coltrane,
New Order,
The Trojans,
John Cale,
Ornette Coleman,
Country Joe & The Fish,
Brass Construction,
Suburban Knight,
Althea and Donna,
Avey Tare's Slasher Flicks,
Danielle Patucci,
D'Angelo,
The Dirtbombs,
L. Decosne,
Eric Copeland,
Jandek,
Subhumans,
Ronan,
Larry & the Blue Notes,
Iggy Pop,
Interpol,
Ponytail,
Ajijia Myrayebe,
The Invisible, The Invisible, The Invisible, The Invisible.
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.