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 Argentina and from London.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Accra and Seoul.
I'm losing my edge to the art-school Lagos 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the clarinet 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 Urselle to the electroclash 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 Stereo Dub. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Roxy Music 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Spandau Ballet,
Desert Stars,
Tomorrow,
Juan Atkins,
Grandmaster Flash and the Furious Five,
Byron Stingily,
Danielle Patucci,
Albert Ayler,
Soul Sonic Force,
Orchestral Manoeuvres in the Dark,
Brand Nubian,
James White and The Blacks,
Unwound,
Alton Ellis,
The Cure,
Television,
Maurizio,
Bluetip,
Y Pants,
Grauzone,
PIL,
Rod Modell,
Camouflage,
Buzzcocks,
Nick Fraelich,
Beasts of Bourbon,
the Slits,
Newcleus,
London Community Gospel Choir,
Crash Course in Science,
The Fire Engines,
Franke,
The Beau Brummels,
Public Enemy,
Ice-T,
John Lydon,
Bronski Beat,
Lee Hazlewood,
The Happenings,
Niagra,
Crime,
EPMD,
The Gap Band,
Barrington Levy,
La Düsseldorf,
Barclay James Harvest,
The Young Rascals,
Oneida,
The Neon Judgement,
Ponytail,
The Gories,
Sällskapet,
Rosa Yemen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bizarre Inc.,
Donald Byrd,
The Invisible,
World's Most,
Bang on a Can All-Stars,
The Misunderstood,
Section 25, Section 25, Section 25, Section 25.
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.