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 Indonesia and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
I'm losing my edge to the art-school Mexico City 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Rotary Connection to the electroclash kids.
I played it at Cafe Wha.
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 The Real Kids. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Derrick Morgan 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Symarip,
Jandek,
Godley & Creme,
Arthur Verocai,
Sarah Menescal,
Donald Byrd,
Sight & Sound,
L. Decosne,
The Leaves,
Lyres,
Clear Light,
Tropical Tobacco,
Marc Romboy vs. Booka Shade,
The Evens,
Pharoah Sanders,
Los Fastidios,
Louis and Bebe Barron,
Gang Gang Dance,
The Tremeloes,
Throbbing Gristle,
Isaac Hayes,
Shuggie Otis,
Bauhaus,
Ohio Players,
Gerry Rafferty,
Thompson Twins,
Slick Rick,
John Lydon,
Josef K,
London Community Gospel Choir,
Sound Behaviour,
Rod Modell,
Gang Green,
Funky Four + One,
Nick Fraelich,
cv313,
Liaisons Dangereuses,
Rhythm & Sound,
Barclay James Harvest,
Model 500,
Sun City Girls,
Scrapy,
the Bar-Kays,
AZ,
Neil Young & Crazy Horse,
Frankie Knuckles,
Pere Ubu,
Rekid,
Scott Walker,
Lou Christie,
The Monks,
The Shadows of Knight,
The Gladiators,
Yusef Lateef,
Peter Gordon & Love of Life Orchestra,
Lou Reed & Metallica,
Marc Almond,
Amazonics,
Harry Pussy,
Avey Tare & Kría Brekkan,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.