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 Cape Verde and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Madrid and Manchester.
I'm losing my edge to the art-school Paris 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 Interpol to the jazz 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 Gang Green. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Los Fastidios record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
Dead Boys,
Sugar Minott,
Faust,
The Busters,
Alison Limerick,
Excepter,
Terrestrial Tones,
The Golliwogs,
Interpol,
Sun City Girls,
Glambeats Corp.,
Lungfish,
Radiopuhelimet,
The Neon Judgement,
Marc Almond,
Arthur Verocai,
Livin' Joy,
Michelle Simonal,
The Dirtbombs,
D'Angelo,
Captain Beefheart & His Magic Band,
Deakin,
La Düsseldorf,
Curtis Mayfield,
Crash Course in Science,
Gang Starr,
Grey Daturas,
Marshall Jefferson,
Judy Mowatt,
Tres Demented,
Magma,
Ultravox,
AZ,
Pantytec,
Al Stewart,
The Associates,
Mandrill,
Mad Mike,
Heavy D & The Boyz,
Lou Reed,
Subhumans,
Piero Umiliani,
Pharoah Sanders,
Brick,
Soulsonic Force,
New Order,
Clear Light,
The Mummies,
The Victims,
Fluxion,
Gang Gang Dance,
Lindisfarne,
Siglo XX,
Newcleus,
Sonic Youth,
Fear,
Crime,
Marcia Griffiths,
Blake Baxter,
Eric Copeland,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.