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 Kosovo and from Manila.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Bologna 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 guitar 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 Jacques Brel to the dance kids.
I played it at Cafe Wha.
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 Slick Rick. All the underground hits.
All Flamin' Groovies tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Raincoats record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Index,
DJ Sneak,
The Moody Blues,
Aswad,
The Fugs,
Vainqueur,
London Community Gospel Choir,
Scientists,
Eve St. Jones,
Depeche Mode,
Derrick May,
Pylon,
Janne Schatter,
Grey Daturas,
The Kinks,
The Angels of Light,
Cybotron,
Robert Görl,
Josef K,
Ash Ra Tempel,
Funky Four + One,
The Velvet Underground,
Interpol,
The Neon Judgement,
Grandmaster Flash and the Furious Five,
Panda Bear,
Joy Division,
The Shadows of Knight,
The Slits,
Lizzy Mercier Descloux,
Quadrant,
The Dead C,
Crooked Eye,
Lalann,
James Chance & The Contortions,
Sound Behaviour,
Lower 48,
John Coltrane,
Joe Smooth,
Don Cherry,
Tubeway Army,
Organ,
OOIOO,
Radiopuhelimet,
The Divine Comedy,
Minor Threat,
Vaughan Mason & Crew,
Nation of Ulysses,
Gichy Dan,
DNA,
Gang Gang Dance,
Maleditus Sound,
Deakin,
Rod Modell,
Unrelated Segments,
PIL,
Niagra,
Smog,
Ronnie Foster,
Radio Birdman,
Camberwell Now,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.