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 Bahamas and from Johannesburg.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Houston and Stockholm.
I'm losing my edge to the art-school Milan 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 Tom Verlaine 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 Angry Samoans to the dance kids.
I played it at Trash.
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 Zeros. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pretty Things,
Supertramp,
Swans,
The Divine Comedy,
DNA,
Qualms,
The Moody Blues,
June of 44,
Teenage Jesus and the Jerks,
Nils Olav,
Drexciya,
Roy Ayers Ubiquity,
Von Mondo,
F. McDonald,
Bobby Byrd,
The Barracudas,
Radio Birdman,
Los Fastidios,
Niagra,
Glenn Branca,
The Evens,
Nik Kershaw,
Leonard Cohen,
London Community Gospel Choir,
Ajijia Myrayebe,
The Velvet Underground,
Ossler,
Severed Heads,
Wire,
Pharoah Sanders,
Pylon,
Radiohead,
The New Christs,
Oneida,
The Walker Brothers,
Sexual Harrassment,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Electric Prunes,
Fluxion,
Charles Mingus,
Rowland S Howard / Lydia Lunch,
Lou Christie,
Deakin,
Jeff Lynne,
Arab on Radar,
Gastr Del Sol,
John Foxx,
The Move,
Parry Music,
Grandmaster Flash,
Jawbox,
Model 500,
Shoche,
The Blackbyrds,
Colin Newman,
Marmalade,
The Moleskins,
Joyce Sims,
Judy Mowatt,
D'Angelo,
The Buckinghams,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.