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 Qatar and from Toronto.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1974.
I'm losing my edge.
To all the kids in Halifax and Calgary.
I'm losing my edge to the art-school Manchester 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Dark Day to the punk 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 Buzzcocks. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
The Dirtbombs,
Underground Resistance,
The Happenings,
the Soft Cell,
Hardrive,
Scratch Acid,
Man Eating Sloth,
Bootsy's Rubber Band,
E-Dancer,
Chrome,
the Sonics,
Urselle,
Surgeon,
Ponytail,
Siglo XX,
Alison Limerick,
Gang of Four,
Nico,
Lonnie Liston Smith,
Bill Near,
Tommy Roe,
Qualms,
Barrington Levy,
Hot Snakes,
Howard Jones,
Slick Rick,
Oneida,
Arcadia,
Pole,
Bang on a Can All-Stars,
Jeru the Damaja,
the Germs,
The Angels of Light,
Metal Thangz,
The Names,
Mo-Dettes,
Rowland S Howard / Lydia Lunch,
Peter Gordon & Love of Life Orchestra,
Main Source,
Skarface,
the Association,
Bobby Byrd,
The Misunderstood,
EPMD,
Nick Cave & The Bad Seeds,
Symarip,
Fela Kuti,
Tres Demented,
Average White Band,
ABBA,
The Shadows of Knight,
Bad Manners,
Delon & Dalcan,
Lalo Schifrin,
Television Personalities,
Crash Course in Science,
H. Thieme,
Japan,
Stiv Bators,
Soft Cell,
Boogie Down Productions,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.