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 Estonia and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1965 to 1973.
I'm losing my edge.
To all the kids in Lagos and Madrid.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Urselle to the grime kids.
I played it at the 40 Watt.
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 Juan Atkins. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
The Cosmic Jokers,
Theoretical Girls,
Wolf Eyes,
Reagan Youth,
Nick Fraelich,
Wire,
Camron Feat. Memphis Bleek And Beenie Seigel,
Popol Vuh,
The Leaves,
Warren Ellis,
Pantaleimon,
Lou Reed & Metallica,
Can,
Gil Scott-Heron & Brian Jackson,
Dennis Brown,
DNA,
Connie Case,
Zero Boys,
Steve Hackett,
This Heat,
the Soft Cell,
Drive Like Jehu,
The Moleskins,
Robert Görl,
Fifty Foot Hose,
Joensuu 1685,
Godley & Creme,
Grandmaster Flash and the Furious Five,
Heavy D & The Boyz,
John Coltrane,
Susan Cadogan,
Motorama,
Eric Dolphy,
Stockholm Monsters,
Jacob Miller,
The Fuzztones,
The Mighty Diamonds,
Gichy Dan,
Yazoo,
Gabor Szabo,
Lizzy Mercier Descloux,
Roy Ayers Ubiquity,
The Monochrome Set,
The Litter,
Saccharine Trust,
Rod Modell,
The Remains,
Manfred Mann's Earth Band,
MDC,
Lower 48,
Neil Young & Crazy Horse,
Terror Squad Feat. Camron,
Aural Exciters,
Black Bananas,
Joyce Sims,
Eden Ahbez,
The Misunderstood,
The West Coast Pop Art Experimental Band,
Qualms,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.