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 Argentina and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in Manchester and Milan.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 Shoche to the techno kids.
I played it at the 40 Watt.
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 Max Romeo. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Outsiders record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Visage,
Peter Gordon & Love of Life Orchestra,
The Fuzztones,
Tim Buckley,
Roxy Music,
Radiopuhelimet,
Grandmaster Flash and the Furious Five,
The Litter,
Scott Walker,
Jacques Brel,
Nick Fraelich,
Ohio Players,
The Remains,
Isaac Hayes,
Glenn Branca,
Slave,
The Star Department,
The Zeros,
The Vogues,
Hasil Adkins,
Tears for Fears,
Eric Copeland,
Amon Düül,
Loose Ends,
Organ,
Anthony Braxton,
The Five Americans,
the Swans,
Teenage Jesus and the Jerks,
Eden Ahbez,
Anakelly,
Boredoms,
Basic Channel,
Soft Machine,
Alison Limerick,
Barbara Tucker,
The Music Machine,
Cameo,
Sly & The Family Stone,
Brass Construction,
Unrelated Segments,
Shuggie Otis,
Big Daddy Kane,
Au Pairs,
Sun City Girls,
Deakin,
Wire,
John Holt,
JFA,
Bronski Beat,
Stiv Bators,
Chris & Cosey,
Tommy Roe,
Quando Quango,
Althea and Donna,
Moebius,
Avey Tare & Kría Brekkan,
Jeff Mills,
Bush Tetras,
Gang Gang Dance,
X-101,
Ponytail,
DJ Style, DJ Style, DJ Style, DJ Style.
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.