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 Poland and from Lagos.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Tehran 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 Fat Boys to the funk kids.
I played it at the Crocodile.
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 Pulsallama. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
Pylon,
This Heat,
Sound Behaviour,
The Mojo Men,
Accadde A,
Blancmange,
Beasts of Bourbon,
Notorious BIG live in Amsterdam,
K-Klass,
Soul II Soul,
Isaac Hayes,
Harpers Bizarre,
Half Japanese,
Oneida,
Pet Shop Boys,
the Soft Cell,
Kool G Rap & DJ Polo,
Jerry Gold Smith,
Faraquet,
The Gories,
Television,
Toni Rubio,
Warren Ellis,
The Sound,
Skarface,
Black Bananas,
Model 500,
Sonic Youth,
The Gun Club,
A Certain Ratio,
Sonny Sharrock,
Dennis Brown,
Gang Starr,
Althea and Donna,
Average White Band,
Rosa Yemen,
Tres Demented,
A Flock of Seagulls,
John Lydon,
Shoche,
Unrelated Segments,
The Blues Magoos,
Negative Approach,
Stiv Bators,
Neil Young & Crazy Horse,
Theoretical Girls,
China Crisis,
Marmalade,
The Mighty Diamonds,
Freddie Wadling,
Roy Ayers,
Lee Hazlewood,
Sällskapet,
Derrick May,
Slave,
Urselle,
Mr. Review,
CMW,
The American Breed, The American Breed, The American Breed, The American Breed.
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.