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 El Salvador and from Johannesburg.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
I'm losing my edge to the art-school Accra 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 snare sounds with much patience.
I was there when Lou Reed 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 Modern Lovers to the rock kids.
I played it at the Crocodile.
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 Scan 7. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Terry Callier 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Johnny Clarke,
Banda Bassotti,
Rekid,
Jacques Brel,
Pussy Galore,
The Pop Group,
Todd Terry,
The Mojo Men,
Rod Modell,
Hashim,
The American Breed,
Soul Sonic Force,
Laurel Aitken,
Jandek,
Scott Walker,
It's A Beautiful Day,
Ash Ra Tempel,
Whodini,
Gastr Del Sol,
Ken Boothe,
Nils Olav,
Pete Rock & C.L. Smooth,
Radiopuhelimet,
Yusef Lateef,
The Birthday Party,
Rakim,
Barrington Levy,
CMW,
The Modern Lovers,
Rhythm & Sound,
Fifty Foot Hose,
the Slits,
Ten City,
The Invisible,
Bobby Sherman,
The Slits,
Echospace,
Pantaleimon,
Idris Muhammad,
Piero Umiliani,
Tears for Fears,
Rites of Spring,
Albert Ayler,
T.S.O.L.,
Flipper,
June of 44,
The Beau Brummels,
Motorama,
D'Angelo,
The Residents,
kango's stein massive,
Kool Moe Dee,
Delon & Dalcan,
Howard Jones,
The Star Department,
A Flock of Seagulls,
Moebius,
Con Funk Shun,
John Coltrane,
Babytalk,
Girls At Our Best!,
Visage, Visage, Visage, Visage.
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.