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 Denmark and from Paris.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba 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 Teenage Jesus and the Jerks to the dance kids.
I played it at the Troubador.
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 Gang Starr. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal 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?
Man Eating Sloth,
Avey Tare's Slasher Flicks,
The J.B.'s,
Kaleidoscope,
Barclay James Harvest,
Mary Jane Girls,
The Zeros,
Echospace,
Peter & Gordon,
Bang on a Can All-Stars,
Sex Pistols,
Bobby Sherman,
Be Bop Deluxe,
Country Teasers,
Agent Orange,
Rakim,
Hardrive,
David McCallum,
Amon Düül,
The American Breed,
Parry Music,
Wolf Eyes,
The Golliwogs,
Gang Green,
Gary Puckett & The Union Gap,
London Community Gospel Choir,
Black Moon,
Television,
Severed Heads,
Gian Franco Pienzio,
Neil Young & Crazy Horse,
The Slackers,
New Age Steppers,
Amazonics,
David Axelrod,
The Martian,
The Smiths,
Sister Nancy,
Marmalade,
The Monks,
Cabaret Voltaire,
Echo & the Bunnymen,
Jerry Gold Smith,
The Velvet Underground,
Big Daddy Kane,
La Düsseldorf,
Major Organ And The Adding Machine,
Ituana,
Juan Atkins,
The Gun Club,
The Busters,
Grandmaster Flash,
John Lydon,
Pagans,
World's Most,
Groovy Waters,
Urselle,
The Durutti Column,
Lee Hazlewood,
Thinking Fellers Union Local 282,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.