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 Haiti and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1979.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Tokyo 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 Mistral practice in a loft in Amsterdam.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Swell Maps to the rock 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 Wighnomy Brothers & Robag Wruhme. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal electroclash 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 an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
The Remains,
Fugazi,
Lower 48,
Malaria!,
Alison Limerick,
Gong,
Black Bananas,
Jacques Brel,
Los Fastidios,
Nation of Ulysses,
The Smiths,
The Young Rascals,
Peter Gordon & Love of Life Orchestra,
Mandrill,
Liaisons Dangereuses,
The Fuzztones,
T. Rex,
KRS-One,
Jeff Mills,
David Bowie,
X-102,
Barclay James Harvest,
Peter & Gordon,
Pagans,
Mr. Review,
The Dirtbombs,
MDC,
Intrusion,
Notorious Big And Bone Thugs,
Bobby Womack,
Juan Atkins,
Joey Negro,
Glenn Branca,
Amon Düül II,
Justin Hinds & The Dominoes,
Eli Mardock,
Fad Gadget,
Drive Like Jehu,
The Busters,
Fort Wilson Riot,
Smog,
Maurizio,
Donald Byrd,
Althea and Donna,
Massinfluence,
Ash Ra Tempel,
Flamin' Groovies,
Brand Nubian,
Shoche,
Pierre Henry,
It's A Beautiful Day,
The Happenings,
The United States of America,
Boogie Down Productions,
Sound Behaviour,
Au Pairs,
Quantec,
Scott Walker,
the Human League, the Human League, the Human League, the Human League.
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.