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 Congo and from Manila.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Halifax and Seoul.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Moby Grape to the disco kids.
I played it at the Hacienda.
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 Germs. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Talk Talk,
Sly & The Family Stone,
Yazoo,
Boz Scaggs,
Davy DMX,
T.S.O.L.,
Grauzone,
KRS-One,
Marmalade,
the Bar-Kays,
Japan,
the Human League,
The Jesus and Mary Chain,
Fifty Foot Hose,
Boredoms,
Kerri Chandler,
Spoonie Gee,
The Victims,
Pylon,
Morten Harket,
the Normal,
Faraquet,
Unwound,
The Black Dice,
Art Ensemble Of Chicago,
The Walker Brothers,
Negative Approach,
The Peanut Butter Conspiracy,
Carl Craig,
Bobby Sherman,
The Last Poets,
The Mojo Men,
John Coltrane,
Marvin Gaye,
Ossler,
The Motions,
The Doors,
The Dead C,
Connie Case,
L. Decosne,
Metal Thangz,
Glambeats Corp.,
Fat Boys,
Delon & Dalcan,
Icehouse,
Monolake,
Marcia Griffiths,
Heaven 17,
Jacob Miller,
Delta 5,
Crispian St. Peters,
Janne Schatter,
Eurythmics,
Motorama,
Kaleidoscope,
UT,
Subhumans,
Röyhkä ja Rättö ja Lehtisalo,
The Vogues, The Vogues, The Vogues, The Vogues.
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.