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 Belize 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 1973.
I'm losing my edge.
To all the kids in Houston and Manila.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Pylon to the punk kids.
I played it at the Troubador.
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 Clear Light. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Tommy Roe record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dave Gahan,
Index,
Tears for Fears,
The Busters,
Hardrive,
Joyce Sims,
Deadbeat,
Stiv Bators,
T.S.O.L.,
Bang on a Can All-Stars,
Anakelly,
Barclay James Harvest,
Henry Cow,
Boz Scaggs,
Supertramp,
Bobby Womack,
Sonic Youth,
Big Daddy Kane,
Todd Terry,
Louis and Bebe Barron,
Dennis Brown,
Minor Threat,
Kango’s Stein Massive,
Brass Construction,
T. Rex,
Derrick Morgan,
Television,
Flash Fearless,
Suburban Knight,
Fifty Foot Hose,
Pet Shop Boys,
Excepter,
Bill Near,
ABC,
Jerry's Kids,
Amon Düül,
Byron Stingily,
De La Soul & Jungle Brothers,
Deepchord,
Black Sheep,
Marcia Griffiths,
Reuben Wilson,
Marc Romboy vs. Booka Shade,
Thinking Fellers Union Local 282,
PIL,
John Cale,
Young Marble Giants,
Red Lorry Yellow Lorry,
the Human League,
Bauhaus,
The Music Machine,
Rod Modell,
Lou Christie,
Marc Almond,
Severed Heads,
Sun Ra,
Gong,
The Beau Brummels,
Notorious BIG live in Amsterdam,
Niagra,
Graham Central Station,
The Wake, The Wake, The Wake, The Wake.
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.