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 Montenegro and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1979.
I'm losing my edge.
To all the kids in New York and Salvador.
I'm losing my edge to the art-school Glasgow 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 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 Throbbing Gristle to the dance 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 Technova. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Moebius record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
DJ Style,
Eric Copeland,
Minor Threat,
Ken Boothe,
Bizarre Inc.,
Pierre Henry,
U.S. Maple,
Sad Lovers and Giants,
Lower 48,
The Offenders,
Los Fastidios,
Ponytail,
Franke,
Icehouse,
UT,
June of 44,
Toni Rubio,
Tim Buckley,
Cal Tjader,
Jerry's Kids,
Grandmaster Flash,
The Knickerbockers,
Alice Coltrane,
Von Mondo,
B.T. Express,
The Tremeloes,
David McCallum,
Archie Shepp,
8 Eyed Spy,
Television,
Derrick Morgan,
Blossom Toes,
Eurythmics,
Procol Harum,
The Five Americans,
Bang on a Can All-Stars,
Neu!,
The Detroit Cobras,
Boredoms,
Pantaleimon,
Dorothy Ashby,
Eli Mardock,
The Blues Magoos,
Frankie Knuckles,
Jesper Dahlbäck,
Cluster,
Faust,
Radio Birdman,
Main Source,
In Retrospect,
Duran Duran,
Joy Division,
Laurel Aitken,
The Standells,
Organ,
Chris & Cosey,
The Index,
Slick Rick,
Maurizio,
Peter Gordon & Love of Life Orchestra,
John Coltrane,
New York Dolls,
Liliput, Liliput, Liliput, Liliput.
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.