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 Cuba and from Beijing.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Sao Paulo 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Charles Mingus to the techno 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 The Pop Group. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Grandmaster Flash,
Scion,
Black Moon,
Lucky Dragons,
Roger Hodgson,
Nik Kershaw,
Subhumans,
Lou Reed & John Cale,
Brothers Johnson,
AZ,
The Raincoats,
Louis and Bebe Barron,
Japan,
Bootsy Collins,
Negative Approach,
Avey Tare & Kría Brekkan,
The Birthday Party,
The Buckinghams,
JFA,
Model 500,
Jeru the Damaja,
Young Marble Giants,
Gastr Del Sol,
The Martian,
cv313,
Kayak,
Jacob Miller,
Barbara Tucker,
London Community Gospel Choir,
Reuben Wilson,
Silicon Teens,
Bauhaus,
The Gap Band,
Y Pants,
David McCallum,
Fad Gadget,
Zapp,
The Fire Engines,
The Human League,
Sarah Menescal,
Sly & The Family Stone,
Excepter,
Oblivians,
Charles Mingus,
Warren Ellis,
Altered Images,
Khruangbin,
Marine Girls,
The Residents,
The Dead C,
Sexual Harrassment,
Brand Nubian,
Rahsaan Roland Kirk,
H. Thieme,
Lafayette Afro Rock Band,
The American Breed,
Black Flag,
Duran Duran,
Dawn Penn,
Angels of Light & Akron/Family,
Sun Ra Arkestra,
Pylon,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.