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 Albania and from Columbus.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Seoul and Spokane.
I'm losing my edge to the art-school Calgary 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 808 sounds with much patience.
I was there when David Bowie 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 Fortunes 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 The Invisible. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Jacques Brel 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Reagan Youth,
Siouxsie and the Banshees,
The Monochrome Set,
John Cale,
Monolake,
Stiv Bators,
Toni Rubio,
Al Stewart,
Ultra Naté,
June of 44,
Ponytail,
Albert Ayler,
Cheater Slicks,
Jacob Miller,
Dual Sessions,
Jerry Gold Smith,
The Gories,
Eli Mardock,
Boredoms,
Jacques Brel,
The Cramps,
Marine Girls,
Ronnie Foster,
Marcia Griffiths,
Derrick Morgan,
Eyeless In Gaza,
Donald Byrd,
Nirvana,
Arthur Verocai,
Bobby Sherman,
Bobbi Humphrey,
Avey Tare's Slasher Flicks,
Jesper Dahlbäck,
Delta 5,
Urselle,
Oppenheimer Analysis,
Glenn Branca,
The Stooges,
Letta Mbulu,
Gil Scott-Heron & Brian Jackson,
Shoche,
Angels of Light & Akron/Family,
The Mummies,
Sparks,
The Skatalites,
Harry Pussy,
Max Romeo,
Jeff Mills,
Joey Negro,
Aaron Thompson,
China Crisis,
48th St. Collective,
Amon Düül II,
Groovy Waters,
Connie Case,
Gary Puckett & The Union Gap,
Hashim,
Japan,
Barry Ungar,
Young Marble Giants,
Black Flag,
Scratch Acid,
Section 25, Section 25, Section 25, Section 25.
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.