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 Congo and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Shanghai and Madrid.
I'm losing my edge to the art-school Spokane 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 Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 Ice-T to the rock kids.
I played it at Trash.
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 R.M.O.. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
L. Decosne,
The Dirtbombs,
Dead Boys,
Nik Kershaw,
Cecil Taylor,
a-ha,
The Fire Engines,
Brothers Johnson,
Neu!,
A Flock of Seagulls,
Ultimate Spinach,
It's A Beautiful Day,
Japan,
Fluxion,
Röyhkä ja Rättö ja Lehtisalo,
The West Coast Pop Art Experimental Band,
Ultra Naté,
Kurtis Blow,
Electric Prunes,
Prince Buster,
Susan Cadogan,
Cameo,
Deadbeat,
The Skatalites,
Juan Atkins,
The Dave Clark Five,
The Golliwogs,
Silicon Teens,
Visage,
D'Angelo,
Sun City Girls,
Joyce Sims,
Oppenheimer Analysis,
Vainqueur,
Rakim,
The Monochrome Set,
Lee Hazlewood,
Marine Girls,
Kerrie Biddell,
Bronski Beat,
Funkadelic,
Deakin,
Model 500,
Ituana,
Soft Machine,
Joensuu 1685,
Eddi Front,
Sound Behaviour,
Soul Sonic Force,
The Smiths,
Rosa Yemen,
Sun Ra,
Camouflage,
Rapeman,
Quadrant,
Black Flag,
The Doors,
Mad Mike,
Minny Pops,
The Stooges,
Roger Hodgson,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.