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 Croatia and from Taipei.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Beijing.
I'm losing my edge to the art-school Hong Kong 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 marimba 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 Fifty Foot Hose to the techno kids.
I played it at the Roxy.
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 The Young Rascals. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal rock 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
The Sound,
Howard Jones,
Eric B and Rakim,
Nirvana,
Jeff Lynne,
The Velvet Underground,
Lizzy Mercier Descloux,
Das Ding,
Ossler,
Michelle Simonal,
Alton Ellis,
The Slackers,
Lou Reed,
Glambeats Corp.,
Orchestral Manoeuvres in the Dark,
The Durutti Column,
Al Stewart,
Andrew Ashong & Theo Parrish,
Marshall Jefferson,
Loose Ends,
Deutsch Amerikanische Freundschaft,
Supertramp,
Harmonia,
Malaria!,
Lalann,
Fat Boys,
KRS-One,
8 Eyed Spy,
Amon Düül,
Simply Red,
Freddie Wadling,
Black Moon,
Siouxsie and the Banshees,
The Mighty Diamonds,
Dave Gahan,
Depeche Mode,
Alison Limerick,
Sun Ra,
Aaron Thompson,
Scrapy,
The Searchers,
Colin Newman,
Robert Görl,
The Remains,
The West Coast Pop Art Experimental Band,
John Lydon,
Rhythim Is Rhythim,
Jerry Gold Smith,
Judy Mowatt,
The Associates,
Barry Ungar,
Stereo Dub,
Pantaleimon,
Motorama,
The Busters,
Yazoo,
Excepter,
Bobby Womack,
Super Lover Cee & Casanova Rud,
Deepchord,
B.T. Express,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.