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 Papua New Guinea and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1971.
I'm losing my edge.
To all the kids in Cairo and Bologna.
I'm losing my edge to the art-school Copenhagen 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 808 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 Mad Mike to the grime kids.
I played it at the Spitz.
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 Kinks. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Kevin Saunderson 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Interpol,
Oppenheimer Analysis,
Slave,
Kool Moe Dee,
K-Klass,
Bauhaus,
Camberwell Now,
Desert Stars,
Robert Görl,
Lonnie Liston Smith,
Massinfluence,
Andrew Ashong & Theo Parrish,
Ice-T,
The Alarm Clocks,
Toni Rubio,
Lindisfarne,
Bill Wells,
Warsaw,
John Lydon,
The Cosmic Jokers,
Depeche Mode,
The Walker Brothers,
Fear,
Dark Day,
Television,
Major Organ And The Adding Machine,
Amon Düül,
Lou Reed,
Vaughan Mason & Crew,
Au Pairs,
Manfred Mann's Earth Band,
Joe Finger,
The Electric Prunes,
John Cale,
The Offenders,
The Grass Roots,
Joyce Sims,
Pierre Henry,
Lou Christie,
Ituana,
David McCallum,
The Mojo Men,
The Monochrome Set,
Crooked Eye,
Alison Limerick,
Colin Newman,
Curtis Mayfield,
Audionom,
Jesper Dahlbäck,
Marcia Griffiths,
Stereo Dub,
Aaron Thompson,
The American Breed,
Terry Callier,
Radiohead,
The Fall,
MDC,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.