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 Andorra and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1979.
I'm losing my edge.
To all the kids in London and Spokane.
I'm losing my edge to the art-school Edmonton 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 David Bowie 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 Leaves to the dance kids.
I played it at CBGB's.
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 Zero Boys tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
PIL,
Boogie Down Productions,
Public Image Ltd.,
John Cale,
Howard Jones,
Cluster,
The Leaves,
Rufus Thomas,
The Searchers,
Youth Brigade,
Gil Scott-Heron & Brian Jackson,
Qualms,
Rakim,
Moebius,
Donny Hathaway,
Arthur Verocai,
Peter & Gordon,
Soul Sonic Force,
Eric Copeland,
Shoche,
Rod Modell,
Circle Jerks,
Minnie Riperton,
Letta Mbulu,
Von Mondo,
Connie Case,
Röyhkä ja Rättö ja Lehtisalo,
Deakin,
Motorama,
Jerry's Kids,
Ronan,
The Gladiators,
The Divine Comedy,
Das Ding,
Ituana,
Sight & Sound,
The Dirtbombs,
Lightning Bolt,
Maleditus Sound,
Red Lorry Yellow Lorry,
Marine Girls,
Lou Reed & John Cale,
Masters at Work,
Hot Snakes,
It's A Beautiful Day,
Radiohead,
Sun Ra Arkestra,
Echo & the Bunnymen,
Sällskapet,
The Zeros,
The Seeds,
The Doobie Brothers,
Patti Smith,
Pere Ubu,
Morten Harket,
Infiniti,
The Angels of Light,
Marc Almond,
The Birthday Party,
The Knickerbockers,
Dennis Brown,
Laurel Aitken,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.