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 Hungary and from Edmonton.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Portland and Copenhagen.
I'm losing my edge to the art-school Delhi 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Eyeless In Gaza to the grime 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 Babytalk. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Richard Hell and the Voidoids,
Jesper Dahlbäck,
Albert Ayler,
Lyres,
Blancmange,
E-Dancer,
Delon & Dalcan,
Nation of Ulysses,
Lindisfarne,
CMW,
Cluster,
D'Angelo,
James Chance & The Contortions,
The Skatalites,
Dawn Penn,
The Vogues,
The Peanut Butter Conspiracy,
Juan Atkins,
Ajijia Myrayebe,
Cecil Taylor,
Lalann,
Mandrill,
A Certain Ratio,
Circle Jerks,
Kango’s Stein Massive,
Pussy Galore,
Fifty Foot Hose,
Bauhaus,
Bobby Womack,
Masters at Work,
Bizarre Inc.,
Funkadelic,
Judy Mowatt,
Arab on Radar,
Oppenheimer Analysis,
The New Christs,
The American Breed,
Ice-T,
Bill Wells,
The Beau Brummels,
Lizzy Mercier Descloux,
Dave Gahan,
Bobbi Humphrey,
Lee Hazlewood,
Drexciya,
Mars,
Jeff Mills,
Robert Hood,
Selector Dub Narcotic,
Tropical Tobacco,
Harry Pussy,
Ossler,
Roy Ayers Ubiquity,
Icehouse,
Marshall Jefferson,
The Martian,
The Techniques,
Throbbing Gristle,
Howard Jones,
Major Organ And The Adding Machine,
F. McDonald,
Technova, Technova, Technova, Technova.
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.