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 Taiwan and from Jakarta.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Columbus 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 Josef K practice in a loft in Edinburgh.
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 The Remains 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 Heavy D & The Boyz. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Brick 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 '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
John Holt,
These Immortal Souls,
Peter & Gordon,
Colin Newman,
The Selecter,
Ultramagnetic MC's,
Dorothy Ashby,
The Sound,
Brand Nubian,
Buzzcocks,
Young Marble Giants,
Marc Almond,
Angels of Light & Akron/Family,
Negative Approach,
Desert Stars,
Tears for Fears,
Wighnomy Brothers & Robag Wruhme,
The Mojo Men,
Eric Dolphy,
Country Joe & The Fish,
Popol Vuh,
Theoretical Girls,
Howard Jones,
Barry Ungar,
Peter Gordon & Love of Life Orchestra,
Warsaw,
Procol Harum,
Barbara Tucker,
Lafayette Afro Rock Band,
The Tremeloes,
The Star Department,
The Music Machine,
The Fugs,
Terrestrial Tones,
Max Romeo,
Scientists,
FM Einheit,
Fatback Band,
World's Most,
Oneida,
Bauhaus,
Au Pairs,
K-Klass,
Soul II Soul,
The Smiths,
Nas,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jacques Brel,
Magazine,
MC5,
Black Bananas,
Swans,
Radiohead,
Pere Ubu,
Connie Case,
Bill Wells,
Echospace,
Ajijia Myrayebe,
Adolescents,
Talk Talk,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.