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 Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
I'm losing my edge to the art-school New York 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron 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 Underground Resistance to the grime 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 Brick. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every The Grass Roots 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
John Lydon,
The Fall,
Cabaret Voltaire,
The Gun Club,
Patti Smith,
The Barracudas,
The Detroit Cobras,
Loose Ends,
Massinfluence,
Piero Umiliani,
Delon & Dalcan,
the Slits,
Rhythm & Sound,
Joe Smooth,
The Mojo Men,
DNA,
Aswad,
the Bar-Kays,
Byron Stingily,
Vaughan Mason & Crew,
Inner City,
The Doors,
Zero Boys,
Circle Jerks,
Rakim,
Kerrie Biddell,
Donald Byrd,
48th St. Collective,
The New Christs,
Pet Shop Boys,
The Angels of Light,
The Raincoats,
The United States of America,
Agitation Free,
The West Coast Pop Art Experimental Band,
The Skatalites,
Eve St. Jones,
The Slackers,
Strawberry Alarm Clock,
Unwound,
Scrapy,
Al Stewart,
Fat Boys,
Agent Orange,
Dennis Brown,
Cheater Slicks,
kango's stein massive,
Rahsaan Roland Kirk,
The Mighty Diamonds,
Bluetip,
Fifty Foot Hose,
Spoonie Gee,
Urselle,
Faust,
Leonard Cohen,
Peter and Kerry,
Jesper Dahlbäck,
Kas Product,
Thinking Fellers Union Local 282,
David Bowie,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.