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 Nicaragua and from Madrid.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
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 Second Layer practice in a loft in South London.
I was working on the clarinet 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 Hashim to the disco 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 Unrelated Segments. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Public Enemy,
DJ Style,
UT,
Kings Of Tomorrow,
Desert Stars,
Anakelly,
Moss Icon,
Make Up,
Bizarre Inc.,
Bobbi Humphrey,
Cameo,
The Star Department,
K-Klass,
Jerry Gold Smith,
Mantronix,
Terrestrial Tones,
The Toasters,
Con Funk Shun,
Be Bop Deluxe,
F. McDonald,
The Move,
Gregory Isaacs,
Teenage Jesus and the Jerks,
E-Dancer,
Jawbox,
Royal Trux,
Fluxion,
The Detroit Cobras,
Surgeon,
X-101,
The Human League,
Youth Brigade,
Bill Wells,
Idris Muhammad,
Kool G Rap & DJ Polo,
Ituana,
Gastr Del Sol,
Marine Girls,
Nick Cave & The Bad Seeds,
Avey Tare,
Matthew Halsall,
Amon Düül II,
The Men They Couldn't Hang,
Josef K,
Ponytail,
Rekid,
Accadde A,
Sun City Girls,
the Bar-Kays,
Grandmaster Flash,
Vaughan Mason & Crew,
Sight & Sound,
Kayak,
Wire,
The Fuzztones,
Mad Mike,
The Cure,
Groovy Waters,
Cheater Slicks,
Grauzone, Grauzone, Grauzone, Grauzone.
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.