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 Eritrea and from Hong Kong.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Woodstock.
I'm losing my edge to the art-school Jakarta 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 sitar 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 Newcleus to the jazz kids.
I played it at the Troubador.
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 The Detroit Cobras. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Anthony Braxton,
Susan Cadogan,
Lebanon Hanover,
Lee Hazlewood,
David McCallum,
Franke,
The Leaves,
The Fuzztones,
Metal Thangz,
Lou Reed & John Cale,
Cymande,
Brass Construction,
48th St. Collective,
Scratch Acid,
Lucky Dragons,
Eurythmics,
Lonnie Liston Smith,
Ossler,
Ralphi Rosario,
The Count Five,
La Düsseldorf,
Mandrill,
DNA,
Oneida,
The Smoke,
Section 25,
the Soft Cell,
Darondo,
Donald Byrd,
Soft Cell,
Liliput,
Index,
Television,
Deadbeat,
Joe Smooth,
Faraquet,
Au Pairs,
Monks,
The Grass Roots,
The Moody Blues,
Howard Jones,
Rapeman,
Saccharine Trust,
Pete Rock & C.L. Smooth,
Stockholm Monsters,
Andrew Hill,
The Walker Brothers,
The Durutti Column,
DJ Style,
Parry Music,
The Residents,
Y Pants,
Beasts of Bourbon,
Dennis Brown,
Eric Copeland,
The Motions,
Los Fastidios,
Gregory Isaacs,
Bobbi Humphrey,
The Neon Judgement,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.