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 Kiribati and from Bologna.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Delhi 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 Morten Harket to the jazz kids.
I played it at the Troubador.
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 Crime. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
Hot Snakes,
Nick Cave & The Bad Seeds,
Easy Going,
Jacques Brel,
Procol Harum,
Idris Muhammad,
These Immortal Souls,
Judy Mowatt,
Hoover,
Notorious BIG live in Amsterdam,
The Walker Brothers,
The Seeds,
Barry Ungar,
Neu!,
Suicide,
Nick Fraelich,
Sun Ra,
Television Personalities,
De La Soul & Jungle Brothers,
Mark Hollis,
Derrick Morgan,
Chris Corsano,
Dorothy Ashby,
Model 500,
Kurtis Blow,
The American Breed,
Wally Richardson,
Donald Byrd,
Bush Tetras,
Deadbeat,
X-101,
Little Man,
Larry & the Blue Notes,
The Slits,
Richard Hell and the Voidoids,
Marine Girls,
Q and Not U,
Jeff Lynne,
Roxette,
Kas Product,
Bauhaus,
Country Joe & The Fish,
Gang Green,
Gang Gang Dance,
Urselle,
Sandy B,
Public Image Ltd.,
Monolake,
The Sound,
Freddie Wadling,
Nas,
Parry Music,
Gong,
A Certain Ratio,
Lou Reed & John Cale,
The West Coast Pop Art Experimental Band,
Roxy Music,
Suburban Knight,
Minutemen,
Stiv Bators,
The Mummies, The Mummies, The Mummies, The Mummies.
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.