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 Estonia and from Lyon.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Manchester 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 sitar 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 The Standells to the electroclash kids.
I played it at the Crocodile.
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 Pierre Henry. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal grunge 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 a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Boredoms,
Deadbeat,
Agent Orange,
Schoolly D,
Shuggie Otis,
Swans,
The Real Kids,
The J.B.'s,
The Zeros,
Archie Shepp,
Ultramagnetic MC's,
The Moody Blues,
The Kinks,
The Velvet Underground,
Minny Pops,
Kango’s Stein Massive,
Agitation Free,
Arab on Radar,
Mark Hollis,
the Association,
The Music Machine,
Hasil Adkins,
X-Ray Spex,
Ken Boothe,
Inner City,
10cc,
The Blues Magoos,
Au Pairs,
Tears for Fears,
UT,
The Electric Prunes,
Loose Ends,
Bluetip,
Niagra,
Delon & Dalcan,
The Mighty Diamonds,
The Motions,
Stereo Dub,
Connie Case,
Lightning Bolt,
Jacques Brel,
Deutsch Amerikanische Freundschaft,
Marc Almond,
The Monochrome Set,
Tropical Tobacco,
Wire,
Scion,
Ten City,
Electric Prunes,
Rod Modell,
This Heat,
Heavy D & The Boyz,
Livin' Joy,
Wighnomy Brothers & Robag Wruhme,
Colin Newman,
A Flock of Seagulls,
June of 44,
Rowland S Howard / Lydia Lunch,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.