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 Ukraine and from Shanghai.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Halifax and Tehran.
I'm losing my edge to the art-school Woodstock 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Yaz to the electroclash kids.
I played it at the 40 Watt.
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 Nirvana. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Guru Guru,
John Cale,
Crash Course in Science,
Youth Brigade,
Brass Construction,
Infiniti,
Amazonics,
Minny Pops,
Gong,
Stockholm Monsters,
The Fuzztones,
Art Ensemble Of Chicago,
Rhythim Is Rhythim,
The Chocolate Watch Band,
Thompson Twins,
Skaos,
Unwound,
The Residents,
B.T. Express,
the Normal,
Teenage Jesus and the Jerks,
Nils Olav,
Eric B and Rakim,
Johnny Osbourne,
Big Daddy Kane,
The Associates,
Morten Harket,
OOIOO,
Jeru the Damaja,
Sun Ra Arkestra,
Matthew Bourne,
Crispian St. Peters,
Liliput,
Andrew Hill,
Agent Orange,
Qualms,
The Buckinghams,
Wasted Youth,
Bang On A Can,
Kenny Larkin,
The Toasters,
Lyres,
Soft Machine,
Whodini,
Peter Gordon & Love of Life Orchestra,
The Slackers,
New Order,
Amon Düül II,
Grandmaster Flash and the Furious Five,
The Pretty Things,
Orchestral Manoeuvres in the Dark,
Gary Puckett & The Union Gap,
Scrapy,
the Sonics,
Röyhkä ja Rättö ja Lehtisalo,
F. McDonald,
Grandmaster Flash,
New York Dolls,
Oblivians,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.