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 Gambia and from Lagos.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer 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 Captain Beefheart & His Magic Band to the rap kids.
I played it at the 40 Watt.
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 Au Pairs. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Urselle 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Todd Rundgren,
Malaria!,
The Gun Club,
Dorothy Ashby,
the Normal,
Throbbing Gristle,
Iggy Pop,
a-ha,
Anthony Braxton,
Terry Callier,
The Red Krayola,
The Divine Comedy,
Liaisons Dangereuses,
Nas,
Bobby Hutcherson,
Can,
The Cramps,
Smog,
Pet Shop Boys,
Rekid,
Soft Cell,
Blossom Toes,
Avey Tare's Slasher Flicks,
Half Japanese,
ABBA,
Procol Harum,
Kaleidoscope,
Eli Mardock,
Eric B and Rakim,
New Order,
Aaron Thompson,
Judy Mowatt,
Roger Hodgson,
The Mummies,
Kerrie Biddell,
Brass Construction,
Interpol,
Moby Grape,
The Remains,
Angels of Light & Akron/Family,
Outsiders,
David Axelrod,
Henry Cow,
Man Parrish,
Roy Ayers,
Neil Young,
The Cosmic Jokers,
Brothers Johnson,
Red Lorry Yellow Lorry,
Mr. Review,
Faraquet,
Dead Boys,
Wighnomy Brothers & Robag Wruhme,
Chris & Cosey,
Albert Ayler,
Gil Scott-Heron and Jamie xx,
Black Moon,
Model 500,
Trumans Water,
Vaughan Mason & Crew,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.