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 Ethiopia and from Portland.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1971.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Spokane 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 Michael McDonald 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 Soft Machine to the crunk 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal disco 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 oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Tom Boy,
The Cure,
PIL,
Dave Gahan,
Cal Tjader,
Chrome,
Godley & Creme,
Fort Wilson Riot,
R.M.O.,
The Busters,
Amon Düül II,
The Modern Lovers,
Flipper,
The United States of America,
Ossler,
Parry Music,
Bronski Beat,
The Mojo Men,
Suburban Knight,
Derrick May,
Skriet,
Erasure,
Radiohead,
Bizarre Inc.,
Alphaville,
Bobby Byrd,
The Standells,
Das Ding,
The Chocolate Watch Band,
Marvin Gaye,
June of 44,
Boz Scaggs,
Thinking Fellers Union Local 282,
Art Ensemble Of Chicago,
Nas,
Susan Cadogan,
Skaos,
Metal Thangz,
Kevin Saunderson,
Crispian St. Peters,
Dual Sessions,
New York Dolls,
The Invisible,
Joe Smooth,
Lou Christie,
Panda Bear,
The Mummies,
Lou Reed & Metallica,
Yellowson,
The Zeros,
Howard Jones,
Underground Resistance,
Theoretical Girls,
Hot Snakes,
Sonic Youth,
Fifty Foot Hose,
Nik Kershaw,
Crime,
Ralphi Rosario,
Agitation Free,
Y Pants,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.