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 Zambia and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Woodstock.
I'm losing my edge to the art-school Accra 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 rhodes 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 the Slits to the punk 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 Litter. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Gregory Isaacs,
The Velvet Underground,
Hasil Adkins,
Be Bop Deluxe,
Pantytec,
Captain Beefheart & His Magic Band,
Silicon Teens,
The Grass Roots,
Lee Hazlewood,
Fad Gadget,
The Blues Magoos,
Don Cherry,
The American Breed,
Kerrie Biddell,
Aaron Thompson,
Heavy D & The Boyz,
Jeff Lynne,
Adolescents,
A Flock of Seagulls,
A Certain Ratio,
Los Fastidios,
Joey Negro,
Harry Pussy,
Danielle Patucci,
the Normal,
Clear Light,
Oneida,
Derrick Morgan,
Infiniti,
Underground Resistance,
Kango’s Stein Massive,
Lightning Bolt,
Bizarre Inc.,
Piero Umiliani,
Glambeats Corp.,
Eurythmics,
Bill Wells,
Thompson Twins,
Pylon,
Kerri Chandler,
Rakim,
The Mojo Men,
Larry & the Blue Notes,
Johnny Osbourne,
The Index,
Sällskapet,
Stereo Dub,
Kaleidoscope,
Severed Heads,
Scott Walker + Sunn O))),
T.S.O.L.,
Tim Buckley,
The Moody Blues,
June Days,
David Axelrod,
Monks,
Chrome,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.