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 Nicaragua and from Taipei.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Cairo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Anthony Braxton to the grime kids.
I played it at the Astoria.
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 Maleditus Sound. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Ash Ra Tempel 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 '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
Drive Like Jehu,
Byron Stingily,
Barbara Tucker,
Maleditus Sound,
Junior Murvin,
Dead Boys,
Guru Guru,
Ornette Coleman,
Absolute Body Control,
a-ha,
Sight & Sound,
The Sound,
La Düsseldorf,
David Axelrod,
Red Lorry Yellow Lorry,
John Holt,
Harmonia,
Franke,
Liliput,
Jeff Lynne,
The Jesus and Mary Chain,
Pierre Henry,
Delta 5,
Average White Band,
Youth Brigade,
The West Coast Pop Art Experimental Band,
Bill Near,
Sad Lovers and Giants,
Roxette,
Mary Jane Girls,
The Gladiators,
The Martian,
Aaron Thompson,
Danielle Patucci,
Main Source,
The Alarm Clocks,
Marine Girls,
James Chance & The Contortions,
Jacques Brel,
48th St. Collective,
Scion,
Scott Walker,
Dawn Penn,
John Foxx,
The Detroit Cobras,
Tropical Tobacco,
The Busters,
Rakim,
Royal Trux,
Sun Ra,
Sister Nancy,
Anakelly,
Derrick May,
The American Breed,
Quando Quango,
EPMD,
Camron Feat. Jay Z And Juelz,
Grey Daturas,
Symarip,
Japan,
The Selecter,
The Music Machine,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.