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 Papua New Guinea and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Columbus and Lyon.
I'm losing my edge to the art-school Tehran 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 Buzzcocks to the jazz kids.
I played it at the 40 Watt.
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 Faraquet. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Warren Ellis 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
The American Breed,
Eurythmics,
The Last Poets,
Roger Hodgson,
Blake Baxter,
Porter Ricks,
Camouflage,
The Durutti Column,
F. McDonald,
The Jesus and Mary Chain,
Jimmy McGriff,
Harmonia,
The Motions,
The Toasters,
New Age Steppers,
James Chance & The Contortions,
Rowland S Howard / Lydia Lunch,
KRS-One,
Leonard Cohen,
Pere Ubu,
K-Klass,
Godley & Creme,
Deakin,
FM Einheit,
A Certain Ratio,
Agitation Free,
Throbbing Gristle,
Man Parrish,
Danielle Patucci,
The Detroit Cobras,
John Lydon,
Joensuu 1685,
Smog,
Monolake,
Pole,
Alphaville,
Mary Jane Girls,
Bronski Beat,
Gang of Four,
Outsiders,
James White and The Blacks,
Silicon Teens,
Pantytec,
Deepchord,
The Peanut Butter Conspiracy,
Lalo Schifrin,
Saccharine Trust,
Avey Tare's Slasher Flicks,
Buzzcocks,
Stiv Bators,
Robert Görl,
Suburban Knight,
Little Man,
Terrestrial Tones,
Rapeman,
Ice-T,
Intrusion,
Visage,
Faraquet,
Gary Puckett & The Union Gap,
The Busters,
Manfred Mann's Earth Band,
Excepter, Excepter, Excepter, Excepter.
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.