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 Chad and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Accra.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the guitar 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 J.B.'s to the techno kids.
I played it at the Astoria.
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 Television. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Grey Daturas,
Tim Buckley,
Soft Machine,
Gang Gang Dance,
Severed Heads,
June of 44,
Khruangbin,
Eurythmics,
Cluster,
Sarah Menescal,
Cymande,
Brothers Johnson,
U.S. Maple,
Rapeman,
Con Funk Shun,
Juan Atkins,
Ronnie Foster,
The Pop Group,
The Sisters of Mercy,
Archie Shepp,
Pole,
Symarip,
Dawn Penn,
The Zeros,
Magma,
Clear Light,
Model 500,
David Axelrod,
The Doors,
Fugazi,
Alison Limerick,
T.S.O.L.,
Todd Terry,
CMW,
Gerry Rafferty,
Bootsy Collins,
Tom Boy,
Sound Behaviour,
Jeff Mills,
The Happenings,
The Gun Club,
Peter & Gordon,
Flash Fearless,
Marine Girls,
DNA,
Agitation Free,
Kaleidoscope,
The Kinks,
Motorama,
Rhythm & Sound,
Magazine,
Kauko Röyhkä ja Narttu,
The Slits,
This Heat,
Barry Ungar,
Man Parrish,
Echo & the Bunnymen,
Deadbeat,
Essential Logic,
KRS-One, KRS-One, KRS-One, KRS-One.
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.