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 Congo and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Bologna and Cairo.
I'm losing my edge to the art-school Hong Kong 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 Zapp practice in a loft in Hamilton.
I was working on the spring reverb 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 Vaughan Mason & Crew to the jazz kids.
I played it at the Roxy.
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 Howard Jones. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Au Pairs record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Amon Düül,
Josef K,
Blake Baxter,
F. McDonald,
Brothers Johnson,
Crispy Ambulance,
Dead Boys,
The Chocolate Watch Band,
Second Layer,
EPMD,
Howard Jones,
Wolf Eyes,
Pet Shop Boys,
Robert Wyatt,
The Durutti Column,
Outsiders,
Inner City,
Sparks,
The Moleskins,
Liaisons Dangereuses,
Faust,
The United States of America,
ABBA,
Lizzy Mercier Descloux,
Average White Band,
Tomorrow,
Bootsy's Rubber Band,
Drive Like Jehu,
Sonic Youth,
Pantytec,
The Gories,
Model 500,
Pierre Henry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
48th St. Collective,
Blancmange,
Adolescents,
Jerry's Kids,
Supertramp,
Tommy Roe,
The Divine Comedy,
Oneida,
Be Bop Deluxe,
Bang on a Can All-Stars,
Patti Smith,
The Wake,
Aaron Thompson,
Arcadia,
The Modern Lovers,
Brass Construction,
Spandau Ballet,
Alton Ellis,
Black Bananas,
Camron Feat. Jay Z And Juelz,
the Association,
Sex Pistols,
Radio Birdman,
Oppenheimer Analysis,
Das Ding,
Eddi Front,
Bizarre Inc.,
Ponytail, Ponytail, Ponytail, Ponytail.
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.