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 Poland and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Calgary and New York.
I'm losing my edge to the art-school Milan 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 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 Howard Jones to the rap kids.
I played it at the Astoria.
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 Roxy Music. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Smog,
Simply Red,
Sight & Sound,
Jacob Miller,
Piero Umiliani,
Rekid,
Brass Construction,
The Misunderstood,
The Index,
the Human League,
Roxette,
Big Daddy Kane,
Grandmaster Flash,
Grauzone,
Dennis Brown,
Fluxion,
Excepter,
Basic Channel,
The United States of America,
The Evens,
Howard Jones,
Strawberry Alarm Clock,
Man Parrish,
the Slits,
Robert Hood,
Patti Smith,
Scientists,
Babytalk,
Jacques Brel,
Gil Scott Heron,
Model 500,
Country Joe & The Fish,
Jeru the Damaja,
Chris & Cosey,
Public Image Ltd.,
Agent Orange,
Max Romeo,
Audionom,
Grey Daturas,
Masters at Work,
Isaac Hayes,
Sam Rivers,
B.T. Express,
Eric B and Rakim,
Flamin' Groovies,
Sonic Youth,
Ultravox,
Minny Pops,
T. Rex,
Lonnie Liston Smith,
Kerri Chandler,
June of 44,
David McCallum,
Accadde A,
Severed Heads,
Archie Shepp,
Desert Stars,
Bauhaus,
Con Funk Shun,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.