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 Sierra Leone and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Portland.
I'm losing my edge to the art-school Beijing 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 snare 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 Clear Light 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 Grandmaster Flash and the Furious Five. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Matthew Halsall,
The Star Department,
Richard Hell and the Voidoids,
Reagan Youth,
Simply Red,
Dark Day,
Selector Dub Narcotic,
The Residents,
CMW,
The Victims,
The Velvet Underground,
The Zeros,
Faust,
Ken Boothe,
Ultravox,
Lyres,
Gabor Szabo,
Todd Terry,
Liaisons Dangereuses,
Louis and Bebe Barron,
ABC,
Skaos,
The Beau Brummels,
Kaleidoscope,
kango's stein massive,
Amon Düül II,
Ronan,
Orchestral Manoeuvres in the Dark,
The Trojans,
Soul Sonic Force,
Main Source,
Cabaret Voltaire,
Althea and Donna,
Pete Rock & C.L. Smooth,
Sparks,
Deadbeat,
Blake Baxter,
Scion,
Public Image Ltd.,
Robert Wyatt,
Ajijia Myrayebe,
The Detroit Cobras,
Red Lorry Yellow Lorry,
The Stooges,
Jerry Gold Smith,
Qualms,
Scientists,
Ponytail,
Bad Manners,
DJ Style,
E-Dancer,
Lonnie Liston Smith,
The Wake,
The Names,
Glenn Branca,
Quadrant,
Sandy B,
The Offenders,
The Modern Lovers,
Royal Trux,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.