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 Eritrea and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1975.
I'm losing my edge.
To all the kids in Seoul and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Bauhaus to the dance kids.
I played it at the Hacienda.
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 Litter. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every Beasts of Bourbon 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Glambeats Corp.,
Sound Behaviour,
Dave Gahan,
The Residents,
Parry Music,
Pole,
Cymande,
Rowland S Howard / Lydia Lunch,
Hoover,
Wire,
Outsiders,
LL Cool J,
Monolake,
John Foxx,
Selector Dub Narcotic,
The Golliwogs,
Liliput,
Eden Ahbez,
Super Lover Cee & Casanova Rud,
Gil Scott Heron,
Schoolly D,
The Fortunes,
Jacques Brel,
Eli Mardock,
Wally Richardson,
Donny Hathaway,
The Selecter,
Sun City Girls,
L. Decosne,
DNA,
AZ,
Susan Cadogan,
Soft Machine,
Can,
James White and The Blacks,
Peter Gordon & Love of Life Orchestra,
Gang Gang Dance,
The Tremeloes,
Lee Hazlewood,
June of 44,
Massinfluence,
Public Image Ltd.,
Curtis Mayfield,
Cecil Taylor,
Theoretical Girls,
the Soft Cell,
Andrew Ashong & Theo Parrish,
Tears for Fears,
Sad Lovers and Giants,
Gastr Del Sol,
The Doors,
The Jesus and Mary Chain,
Aaron Thompson,
The Durutti Column,
Trumans Water,
The Associates,
Surgeon,
Cabaret Voltaire,
The Cramps,
the Sonics, the Sonics, the Sonics, the Sonics.
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.