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 Grenada and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Winnipeg and New York.
I'm losing my edge to the art-school Bologna 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 1984 at the first Arcadia practice in a loft in London.
I was working on the organ 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 Masters at Work 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 The Fall. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Roxy Music 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pantytec record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Jacques Brel,
the Soft Cell,
DJ Sneak,
Maurizio,
Bootsy Collins,
Larry & the Blue Notes,
The Blackbyrds,
Sun Ra Arkestra,
The Real Kids,
The Saints,
Altered Images,
Joey Negro,
The Fire Engines,
Wasted Youth,
Brass Construction,
Icehouse,
Gang of Four,
Suicide,
Howard Jones,
Kerrie Biddell,
Theoretical Girls,
Lou Christie,
Con Funk Shun,
Malaria!,
Mad Mike,
The Vogues,
D'Angelo,
Yaz,
Buzzcocks,
Zapp,
Underground Resistance,
The Zeros,
Swans,
Lonnie Liston Smith,
Kurtis Blow,
Sixth Finger,
The Stooges,
Deadbeat,
Black Flag,
Das Ding,
Blake Baxter,
The Chocolate Watch Band,
JFA,
Lucky Dragons,
Terror Squad Feat. Camron,
Whodini,
The West Coast Pop Art Experimental Band,
Terrestrial Tones,
Eurythmics,
Gong,
The Five Americans,
Pharoah Sanders,
The Alarm Clocks,
the Human League,
the Swans,
Charles Mingus,
Magma,
Arab on Radar,
The Cure,
Rhythm & Sound,
Electric Light Orchestra,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.