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 Swaziland and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Spokane and Beijing.
I'm losing my edge to the art-school Bologna 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Throbbing Gristle to the disco kids.
I played it at the Roxy.
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 Lalann. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every James White and The Blacks 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
The Searchers,
Supertramp,
The Vogues,
Thompson Twins,
Lee Hazlewood,
Gil Scott-Heron & Brian Jackson,
Spoonie Gee,
Josef K,
Robert Wyatt,
Mantronix,
Ponytail,
The Victims,
Ultra Naté,
Sugar Minott,
the Soft Cell,
London Community Gospel Choir,
Lafayette Afro Rock Band,
The Pretty Things,
Soul II Soul,
Super Lover Cee & Casanova Rud,
David Axelrod,
Alison Limerick,
The Move,
Theoretical Girls,
The Human League,
Cabaret Voltaire,
Man Eating Sloth,
Orchestral Manoeuvres in the Dark,
Art Ensemble Of Chicago,
John Foxx,
Liliput,
Scientists,
Kool G Rap & DJ Polo,
the Sonics,
Wire,
Pulsallama,
Bobbi Humphrey,
Barbara Tucker,
Sun City Girls,
The Standells,
Tomorrow,
Morten Harket,
The Jesus and Mary Chain,
Heaven 17,
Dead Boys,
Dorothy Ashby,
The Blues Magoos,
The Buckinghams,
The American Breed,
Joe Finger,
Arcadia,
Manfred Mann's Earth Band,
The United States of America,
cv313,
The Techniques,
Cal Tjader,
Al Stewart,
Terry Callier,
MC5,
Marmalade,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.