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 Bolivia and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1975.
I'm losing my edge.
To all the kids in Spokane and Accra.
I'm losing my edge to the art-school Tehran 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 oboe 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 Graham Central Station to the rap kids.
I played it at the Astoria.
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 Gian Franco Pienzio. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Steve Hackett,
Roxy Music,
the Human League,
Half Japanese,
Lyres,
The Doobie Brothers,
Joey Negro,
Bobby Sherman,
Loose Ends,
Robert Hood,
John Foxx,
Röyhkä ja Rättö ja Lehtisalo,
Jeru the Damaja,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ken Boothe,
Stereo Dub,
The Standells,
Lou Christie,
Stockholm Monsters,
Franke,
Pussy Galore,
Public Enemy,
Minor Threat,
Ronan,
Trumans Water,
Wire,
AZ,
Delon & Dalcan,
Chris Corsano,
Yazoo,
Radio Birdman,
Royal Trux,
Black Pus,
Kayak,
Arab on Radar,
Underground Resistance,
Harmonia,
Au Pairs,
The Mighty Diamonds,
Con Funk Shun,
Visionaries,LMNO, T- Love & Iriscience,
Siglo XX,
Sad Lovers and Giants,
Nas,
Masters at Work,
Alice Coltrane,
Flash Fearless,
Magazine,
EPMD,
Susan Cadogan,
Sight & Sound,
Jawbox,
Aaron Thompson,
Main Source,
Big Daddy Kane,
The Fall,
The Selecter,
John Lydon,
Parry Music, Parry Music, Parry Music, Parry Music.
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.