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 Georgia and from Jakarta.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Bologna and Spokane.
I'm losing my edge to the art-school Edmonton 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 organ sounds with much patience.
I was there when David Bowie 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 Youth Brigade to the dance 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 The Jesus and Mary Chain. All the underground hits.
All Kool Moe Dee tracks. I heard you have a vinyl of every Make Up 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 '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Newcleus,
The Stooges,
Alton Ellis,
Slave,
Terry Callier,
Steve Hackett,
Davy DMX,
Arcadia,
Pharoah Sanders,
Ohio Players,
Peter & Gordon,
Cameo,
The Techniques,
Scan 7,
Iggy Pop,
Agitation Free,
Rhythm & Sound,
Johnny Clarke,
Dead Boys,
Eden Ahbez,
Jeru the Damaja,
48th St. Collective,
Marcia Griffiths,
Procol Harum,
JFA,
Janne Schatter,
PIL,
Echospace,
Aural Exciters,
Jesper Dahlback,
Severed Heads,
Essential Logic,
B.T. Express,
Connie Case,
Camberwell Now,
Brass Construction,
The Vogues,
Avey Tare's Slasher Flicks,
Gastr Del Sol,
Flamin' Groovies,
The Happenings,
The Searchers,
Bobby Womack,
Harmonia,
Liaisons Dangereuses,
Laurel Aitken,
AZ,
Siouxsie and the Banshees,
Orchestral Manoeuvres in the Dark,
Joensuu 1685,
Eve St. Jones,
Albert Ayler,
Gian Franco Pienzio,
Rod Modell,
Ossler,
Country Teasers,
The Red Krayola,
The Offenders,
Rowland S Howard / Lydia Lunch,
Sunsets and Hearts,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.