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 Monaco and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1975.
I'm losing my edge.
To all the kids in New York and Shanghai.
I'm losing my edge to the art-school Philadelphia 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb 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 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 Porter Ricks. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
Surgeon,
Grauzone,
Deutsch Amerikanische Freundschaft,
June Days,
Maleditus Sound,
Chris Corsano,
Chris & Cosey,
The Motions,
Erykah Badu,
Jacob Miller,
The Durutti Column,
Maurizio,
Johnny Clarke,
The Sound,
Ajijia Myrayebe,
Harry Pussy,
Bill Near,
Matthew Bourne,
Bang on a Can All-Stars,
Rowland S Howard / Lydia Lunch,
D'Angelo,
Warsaw,
Moebius,
The Birthday Party,
David Bowie,
New Age Steppers,
The Wake,
Grandmaster Flash,
Mission of Burma,
Ultimate Spinach,
Jeru the Damaja,
Blake Baxter,
Vainqueur,
Scratch Acid,
Richard Hell and the Voidoids,
Alton Ellis,
Lalo Schifrin,
The Dead C,
Deepchord,
Ohio Players,
June of 44,
Janne Schatter,
Siouxsie and the Banshees,
The Gladiators,
Sandy B,
The Modern Lovers,
Howard Jones,
Depeche Mode,
Kauko Röyhkä ja Narttu,
Dual Sessions,
Crispy Ambulance,
Morten Harket,
The Mummies,
This Heat,
Khruangbin,
Silicon Teens,
Sparks,
Soft Machine,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.