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 Kuwait and from Bologna.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Manila and Mumbai.
I'm losing my edge to the art-school Winnipeg 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 Buzzcocks practice in a loft in Bolton.
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 Girls At Our Best! to the funk kids.
I played it at the Crocodile.
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 Adolescents. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
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 Aaron Thompson record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Frankie Knuckles,
Yellowson,
Talk Talk,
Circle Jerks,
cv313,
Oppenheimer Analysis,
This Heat,
Faraquet,
Ten City,
Rotary Connection,
Reagan Youth,
Skaos,
Sun Ra Arkestra,
Sam Rivers,
The Gun Club,
Michelle Simonal,
The Dave Clark Five,
Teenage Jesus and the Jerks,
Black Sheep,
The Black Dice,
The Flesh Eaters,
the Human League,
a-ha,
Erykah Badu,
Harry Pussy,
Sound Behaviour,
Matthew Bourne,
Con Funk Shun,
The Chocolate Watch Band,
Deutsch Amerikanische Freundschaft,
Jerry Gold Smith,
The Music Machine,
Mark Hollis,
Cluster,
Avey Tare's Slasher Flicks,
Outsiders,
The Modern Lovers,
The Sonics,
Kevin Saunderson,
Ornette Coleman,
Thompson Twins,
Big Daddy Kane,
Liaisons Dangereuses,
Bizarre Inc.,
The J.B.'s,
Sarah Menescal,
Tears for Fears,
The Shadows of Knight,
Pierre Henry,
The Real Kids,
Jeru the Damaja,
Supertramp,
Pharoah Sanders,
Absolute Body Control,
Ultimate Spinach,
Pylon,
Laurel Aitken,
Kings Of Tomorrow,
John Foxx,
Pere Ubu,
Radiohead,
Stetsasonic,
The Moody Blues,
Hardrive, Hardrive, Hardrive, Hardrive.
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.