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 Indonesia and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Delhi 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 güiro 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 Skarface to the dance kids.
I played it at the Hacienda.
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 John Foxx. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Green,
Essential Logic,
The Blackbyrds,
Rotary Connection,
Sun Ra Arkestra,
Oneida,
June of 44,
Rhythm & Sound,
LL Cool J,
Suburban Knight,
Make Up,
The United States of America,
Slave,
Scratch Acid,
Patti Smith,
Roger Hodgson,
Arcadia,
Faraquet,
Babytalk,
Masters at Work,
The Men They Couldn't Hang,
X-101,
Bob Dylan,
Avey Tare's Slasher Flicks,
Stiv Bators,
Agitation Free,
Mr. Review,
Interpol,
Icehouse,
The Gap Band,
Nas,
Mantronix,
Dead Boys,
Camron Feat. Jay Z And Juelz,
Cybotron,
Ornette Coleman,
The Divine Comedy,
Nation of Ulysses,
Cabaret Voltaire,
Lalann,
Fort Wilson Riot,
Harmonia,
It's A Beautiful Day,
These Immortal Souls,
Dave Gahan,
The Fortunes,
K-Klass,
Anthony Braxton,
Average White Band,
Shuggie Otis,
Camron Feat. Memphis Bleek And Beenie Seigel,
John Holt,
Skriet,
The Dirtbombs,
The Peanut Butter Conspiracy,
Jerry Gold Smith,
Amon Düül II,
Bang On A Can,
MDC,
Yaz,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.