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 United States and from Bologna.
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 1972.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
I'm losing my edge to the art-school Shanghai 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 Wire practice in a loft in Watford.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Scan 7 to the rock 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 Soft Machine. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Arab on Radar,
Marcia Griffiths,
Tom Boy,
The Monks,
Cybotron,
Stiv Bators,
Popol Vuh,
John Holt,
Robert Görl,
Neil Young,
the Slits,
Mission of Burma,
Joyce Sims,
Sonny Sharrock,
Josef K,
Soft Machine,
Lafayette Afro Rock Band,
Stereo Dub,
The Red Krayola,
Alphaville,
Skarface,
Swell Maps,
Darondo,
Accadde A,
Interpol,
Ossler,
Deadbeat,
Fat Boys,
Sonic Youth,
D'Angelo,
Magazine,
The Fire Engines,
Bobby Hutcherson,
Mark Hollis,
Icehouse,
Art Ensemble Of Chicago,
Saccharine Trust,
DJ Sneak,
Thinking Fellers Union Local 282,
Ten City,
Oblivians,
The West Coast Pop Art Experimental Band,
Bootsy's Rubber Band,
Siouxsie and the Banshees,
Sound Behaviour,
Dual Sessions,
Judy Mowatt,
K-Klass,
Deutsch Amerikanische Freundschaft,
The Peanut Butter Conspiracy,
Ultravox,
Animal Collective,
Swans,
Tubeway Army,
Johnny Clarke,
the Bar-Kays,
Grandmaster Flash,
Eyeless In Gaza,
Erykah Badu,
Bill Near,
Section 25,
Ajijia Myrayebe,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.