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 El Salvador and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1976.
I'm losing my edge.
To all the kids in Taipei and Glasgow.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum 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 Young Marble Giants to the crunk 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 Alphaville. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
The Martian,
Kool Moe Dee,
Lou Reed,
Rufus Thomas,
Andrew Ashong & Theo Parrish,
OOIOO,
Malaria!,
Suicide,
Derrick Morgan,
Country Joe & The Fish,
Cabaret Voltaire,
Ultravox,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kas Product,
Wasted Youth,
Camberwell Now,
Howard Jones,
Brand Nubian,
The United States of America,
Faraquet,
Underground Resistance,
Gong,
Tears for Fears,
Robert Hood,
Soft Cell,
Newcleus,
Stereo Dub,
Ponytail,
Gregory Isaacs,
The Shadows of Knight,
The Vogues,
Letta Mbulu,
Dead Boys,
David Bowie,
The Selecter,
Crime,
Desert Stars,
Bizarre Inc.,
The Peanut Butter Conspiracy,
Bill Wells,
Lakeside,
Vainqueur,
Lou Reed & Metallica,
June Days,
Spandau Ballet,
the Association,
Eddi Front,
Shuggie Otis,
Masters at Work,
Cymande,
Delon & Dalcan,
X-101,
Tommy Roe,
Ronnie Foster,
The Dirtbombs,
The Names,
Lalo Schifrin,
Davy DMX,
Q65,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.