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 Houston.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Lyon and Mumbai.
I'm losing my edge to the art-school Glasgow 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Richard Hell and the Voidoids to the jazz 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 Dual Sessions. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Johnny Clarke 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Fat Boys,
The Beau Brummels,
Lou Christie,
Janne Schatter,
The Searchers,
Agitation Free,
Rakim,
Prince Buster,
The Fugs,
Dave Gahan,
Thinking Fellers Union Local 282,
Barbara Tucker,
The Residents,
Freddie Wadling,
Buzzcocks,
Danielle Patucci,
The Monochrome Set,
The Fall,
Lucky Dragons,
the Sonics,
It's A Beautiful Day,
The Flesh Eaters,
David Axelrod,
Scrapy,
Boz Scaggs,
Nirvana,
Reuben Wilson,
Roy Ayers Ubiquity,
Gang Starr,
Saccharine Trust,
The Moleskins,
Tears for Fears,
F. McDonald,
Larry & the Blue Notes,
Sad Lovers and Giants,
Section 25,
The Associates,
Connie Case,
The New Christs,
Camouflage,
Terry Callier,
Neu!,
The Grass Roots,
The Motions,
Fad Gadget,
The Names,
Oppenheimer Analysis,
Sugar Minott,
Yazoo,
The Gun Club,
Pussy Galore,
One Last Wish,
The Royal Family And The Poor,
Sun Ra Arkestra,
Be Bop Deluxe,
Hot Snakes,
Sam Rivers,
Bronski Beat,
Ossler,
Bill Wells,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.