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 Singapore and from Stockholm.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Taipei and Manila.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord 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 Black Bananas to the disco kids.
I played it at the Astoria.
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 Jesper Dahlback. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Eli Mardock,
Country Joe & The Fish,
The Velvet Underground,
Throbbing Gristle,
Marmalade,
John Foxx,
June of 44,
Lou Reed & John Cale,
Hot Snakes,
Sällskapet,
Pagans,
Glambeats Corp.,
Simply Red,
Archie Shepp,
Neil Young,
Letta Mbulu,
Livin' Joy,
Boz Scaggs,
K-Klass,
Robert Wyatt,
Bobby Hutcherson,
Strawberry Alarm Clock,
Deadbeat,
AZ,
The Mighty Diamonds,
London Community Gospel Choir,
Inner City,
China Crisis,
The Moleskins,
Lyres,
Fela Kuti,
Boredoms,
Niagra,
Loose Ends,
Crooked Eye,
Thompson Twins,
Magma,
The Jesus and Mary Chain,
Lalo Schifrin,
Accadde A,
Matthew Halsall,
Camberwell Now,
Babytalk,
Make Up,
Sound Behaviour,
The Skatalites,
The Black Dice,
Scratch Acid,
Cecil Taylor,
Lee Hazlewood,
Intrusion,
Vladislav Delay,
Ronnie Foster,
Wire,
Radiohead,
T.S.O.L.,
The Neon Judgement,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.