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 Chile and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1976.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 The Walker Brothers to the rap kids.
I played it at Cafe Wha.
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 Pole. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
UT,
The Golliwogs,
Scientists,
Von Mondo,
Negative Approach,
Drive Like Jehu,
Amon Düül II,
John Holt,
James Chance & The Contortions,
Marc Almond,
The Pretty Things,
The Victims,
Deadbeat,
Pharaoh Sanders and the Fire Engines,
Radio Birdman,
Quantec,
The Residents,
the Association,
Siouxsie and the Banshees,
The Chocolate Watch Band,
Sound Behaviour,
Hot Snakes,
Supertramp,
Eric B and Rakim,
Gregory Isaacs,
Terror Squad Feat. Camron,
Gang Starr,
Adolescents,
Dennis Brown,
Patti Smith,
Maleditus Sound,
Cameo,
Sugar Minott,
Liaisons Dangereuses,
Throbbing Gristle,
Marine Girls,
Judy Mowatt,
Stetsasonic,
Harry Pussy,
Theoretical Girls,
The Red Krayola,
Reuben Wilson,
Sex Pistols,
Donny Hathaway,
Mission of Burma,
The Electric Prunes,
Skarface,
Pete Rock & C.L. Smooth,
AZ,
Tropical Tobacco,
The United States of America,
Vladislav Delay,
T.S.O.L.,
Lou Reed & John Cale,
Minor Threat,
Jesper Dahlbäck,
The Walker Brothers,
The Slits, The Slits, The Slits, The Slits.
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.