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 Bahamas and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Tehran 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 Soft Boys practice in a loft in Cambridge.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Marshall Jefferson to the rock kids.
I played it at Trash.
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 Gabor Szabo. All the underground hits.
All Dave Gahan tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
The Techniques,
Curtis Mayfield,
The Velvet Underground,
Scion,
The Sonics,
Red Lorry Yellow Lorry,
Kango’s Stein Massive,
Livin' Joy,
Minor Threat,
Godley & Creme,
The Young Rascals,
James Chance & The Contortions,
Ultra Naté,
R.M.O.,
Ice-T,
Crash Course in Science,
The Peanut Butter Conspiracy,
Soul Sonic Force,
Strawberry Alarm Clock,
Joyce Sims,
Country Teasers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Blues Magoos,
Sam Rivers,
Rhythm & Sound,
Laurel Aitken,
Neu!,
The Evens,
Ossler,
Severed Heads,
Half Japanese,
Justin Hinds & The Dominoes,
a-ha,
Max Romeo,
The Gories,
Soulsonic Force,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Cosmic Jokers,
Josef K,
Derrick May,
Monolake,
Alice Coltrane,
Minutemen,
Groovy Waters,
The Slackers,
Art Ensemble Of Chicago,
The Barracudas,
Circle Jerks,
Sun Ra Arkestra,
Tubeway Army,
Eve St. Jones,
Underground Resistance,
Siouxsie and the Banshees,
Mark Hollis,
Roy Ayers,
The Grass Roots,
Robert Hood,
Colin Newman,
Angels of Light & Akron/Family,
The Litter, The Litter, The Litter, The Litter.
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.