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 Nigeria and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1970.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Lyon 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Sällskapet to the punk kids.
I played it at the Troubador.
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 Ornette Coleman. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every The Saints record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Notorious BIG live in Amsterdam,
Radiohead,
Babytalk,
Unwound,
The Gun Club,
June Days,
Matthew Halsall,
The Golliwogs,
Rhythm & Sound,
Quantec,
Warren Ellis,
James White and The Blacks,
Aswad,
the Normal,
Pussy Galore,
Cluster,
Lizzy Mercier Descloux,
Glambeats Corp.,
The Raincoats,
Index,
Kenny Larkin,
Kerri Chandler,
Newcleus,
X-Ray Spex,
Pagans,
Kevin Saunderson,
The Mighty Diamonds,
Gary Puckett & The Union Gap,
Throbbing Gristle,
Stetsasonic,
Ponytail,
Fear,
Robert Wyatt,
Moebius,
Rapeman,
Monolake,
Bobby Byrd,
These Immortal Souls,
Sarah Menescal,
Scion,
John Lydon,
LL Cool J,
Quadrant,
Iggy Pop,
Royal Trux,
Selector Dub Narcotic,
The Music Machine,
The West Coast Pop Art Experimental Band,
Bizarre Inc.,
The Count Five,
the Soft Cell,
The Royal Family And The Poor,
a-ha,
Pole,
The Mummies,
Terry Callier,
Buzzcocks,
The Knickerbockers,
The Fall,
the Association,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.