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 Taiwan and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Johannesburg 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Radio Birdman to the jazz kids.
I played it at CBGB's.
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 Sun Ra Arkestra. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Cluster,
Nico,
Electric Prunes,
Audionom,
Erykah Badu,
The Gun Club,
Joyce Sims,
Sarah Menescal,
Nils Olav,
ABC,
Moby Grape,
The Fortunes,
Banda Bassotti,
The Residents,
Connie Case,
Donald Byrd,
Accadde A,
Gil Scott-Heron & Brian Jackson,
Delon & Dalcan,
Terror Squad Feat. Camron,
Avey Tare's Slasher Flicks,
Sister Nancy,
Depeche Mode,
PIL,
Massinfluence,
Symarip,
Jandek,
The Motions,
Dawn Penn,
AZ,
Arthur Verocai,
Franke,
Silicon Teens,
Harpers Bizarre,
Alton Ellis,
Guru Guru,
Inner City,
Swans,
Traffic Nightmare,
Lou Reed,
Loose Ends,
New Age Steppers,
Jesper Dahlback,
The Fugs,
MC5,
Robert Wyatt,
Neil Young & Crazy Horse,
Arab on Radar,
The Angels of Light,
Ice-T,
Ornette Coleman,
Shoche,
Throbbing Gristle,
Unrelated Segments,
Harmonia,
The Velvet Underground,
Joe Finger,
Susan Cadogan,
Warsaw,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.