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 South Africa and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Glasgow.
I'm losing my edge to the art-school New York 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 sitar 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 ABBA to the disco kids.
I played it at the Spitz.
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 Louis and Bebe Barron. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust 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?
Country Joe & The Fish,
Piero Umiliani,
The Fall,
Ultra Naté,
Excepter,
Judy Mowatt,
Monks,
Wolf Eyes,
Robert Hood,
The Kinks,
Ronan,
The Zeros,
Andrew Hill,
Darondo,
Susan Cadogan,
Visionaries,LMNO, T- Love & Iriscience,
Sällskapet,
The Peanut Butter Conspiracy,
Youth Brigade,
Kango’s Stein Massive,
Gary Puckett & The Union Gap,
DNA,
Man Parrish,
Radio Birdman,
Lee Hazlewood,
The Durutti Column,
Ajijia Myrayebe,
Sound Behaviour,
Panda Bear,
Cameo,
Jeff Mills,
Alphaville,
Dual Sessions,
Roxette,
The Gun Club,
Scrapy,
Tres Demented,
Chrome,
Index,
Big Daddy Kane,
Pylon,
The Detroit Cobras,
Supertramp,
Nas,
Kas Product,
Charles Mingus,
The Cramps,
The Jesus and Mary Chain,
Maleditus Sound,
Lalo Schifrin,
Sun Ra,
Scott Walker,
Qualms,
Ronnie Foster,
Donny Hathaway,
Man Eating Sloth,
The Divine Comedy,
Monolake,
Soulsonic Force,
The Toasters,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.