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 Seychelles and from Paris.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Lagos 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 organ 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 Newcleus to the punk 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 Marc Romboy vs. Booka Shade. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Half Japanese 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Mark Hollis,
Steve Hackett,
Kas Product,
Malaria!,
Brothers Johnson,
Fort Wilson Riot,
Hasil Adkins,
Byron Stingily,
Gil Scott-Heron & Brian Jackson,
Radiopuhelimet,
Young Marble Giants,
Hardrive,
Von Mondo,
Wings,
Metal Thangz,
Camouflage,
Public Enemy,
Angry Samoans,
The Young Rascals,
Rosa Yemen,
Banda Bassotti,
Royal Trux,
Index,
Television Personalities,
Unwound,
The Peanut Butter Conspiracy,
Harpers Bizarre,
Marcia Griffiths,
De La Soul & Jungle Brothers,
Matthew Bourne,
UT,
Captain Beefheart & His Magic Band,
Simply Red,
Roger Hodgson,
Rhythim Is Rhythim,
E-Dancer,
Moss Icon,
Tropical Tobacco,
Brick,
Beasts of Bourbon,
The Misunderstood,
Inner City,
Orchestral Manoeuvres in the Dark,
Technova,
Leonard Cohen,
The Men They Couldn't Hang,
Eric B and Rakim,
Bob Dylan,
Angels of Light & Akron/Family,
Slave,
Maurizio,
Connie Case,
Ohio Players,
AZ,
Jeru the Damaja,
Derrick May,
T.S.O.L.,
LL Cool J,
Alton Ellis,
Oneida,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.