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 Mauritius and from Milan.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1973.
I'm losing my edge.
To all the kids in Seoul and Jakarta.
I'm losing my edge to the art-school Copenhagen 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 organ 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 Major Organ And The Adding Machine to the grime 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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Ultramagnetic MC's,
Flamin' Groovies,
Maleditus Sound,
X-Ray Spex,
Erasure,
The Gladiators,
Sad Lovers and Giants,
Michelle Simonal,
Oneida,
Angels of Light & Akron/Family,
Alice Coltrane,
Joe Smooth,
Juan Atkins,
Subhumans,
Dennis Brown,
Rakim,
The Gun Club,
Flipper,
Technova,
the Slits,
Matthew Halsall,
The New Christs,
Von Mondo,
The Neon Judgement,
David Axelrod,
Sandy B,
The United States of America,
Avey Tare & Kría Brekkan,
The J.B.'s,
Dark Day,
The Toasters,
Minor Threat,
Kayak,
Funky Four + One,
June Days,
The Selecter,
John Cale,
The Mummies,
48th St. Collective,
Gregory Isaacs,
Delon & Dalcan,
Swell Maps,
Flash Fearless,
Eli Mardock,
Bob Dylan,
Terrestrial Tones,
Nico,
The Alarm Clocks,
Derrick May,
The Royal Family And The Poor,
The Dave Clark Five,
The Tremeloes,
Main Source,
This Heat,
Rod Modell,
Ossler,
Carl Craig,
Jeff Mills,
Lizzy Mercier Descloux,
Chris Corsano,
Lindisfarne,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.