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 Tunisia and from Lagos.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar 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 Gories to the disco 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 Morten Harket. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
the Human League,
Strawberry Alarm Clock,
Red Lorry Yellow Lorry,
The Walker Brothers,
Sad Lovers and Giants,
The Last Poets,
the Association,
Wire,
Bad Manners,
The Modern Lovers,
The Zeros,
Delon & Dalcan,
David Bowie,
It's A Beautiful Day,
A Flock of Seagulls,
Isaac Hayes,
Moss Icon,
Stiv Bators,
Crash Course in Science,
Kerri Chandler,
Frankie Knuckles,
Sly & The Family Stone,
Peter & Gordon,
Theoretical Girls,
Inner City,
Boz Scaggs,
MDC,
Rites of Spring,
Gong,
The Searchers,
Gichy Dan,
Matthew Halsall,
The Move,
The Real Kids,
The Busters,
Jesper Dahlbäck,
Sparks,
Echo & the Bunnymen,
Lou Reed & Metallica,
Monolake,
Barclay James Harvest,
Average White Band,
Joy Division,
Joyce Sims,
The Fuzztones,
The Beau Brummels,
Smog,
Major Organ And The Adding Machine,
Arab on Radar,
The Black Dice,
The Litter,
Neu!,
AZ,
Scrapy,
Nirvana,
Gregory Isaacs,
Jerry's Kids,
Terry Callier,
Minny Pops,
Amon Düül II,
Grey Daturas,
Sunsets and Hearts,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.