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 Argentina and from Taipei.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Madrid and Manila.
I'm losing my edge to the art-school London 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 guitar 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 Arthur Verocai to the electroclash 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 The Kinks. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Dennis Brown,
Pole,
Ornette Coleman,
Scrapy,
The Buckinghams,
Robert Görl,
Gil Scott Heron,
Moby Grape,
Deutsch Amerikanische Freundschaft,
Vladislav Delay,
Depeche Mode,
Mission of Burma,
Public Image Ltd.,
Index,
The Blues Magoos,
Simply Red,
Intrusion,
New Age Steppers,
Gerry Rafferty,
The United States of America,
Wings,
Alison Limerick,
Roxy Music,
Andrew Hill,
The Associates,
Eyeless In Gaza,
Gil Scott-Heron and Jamie xx,
Section 25,
Gian Franco Pienzio,
Frankie Knuckles,
ABC,
Cal Tjader,
Newcleus,
Chrome,
Talk Talk,
Young Marble Giants,
Sällskapet,
Ralphi Rosario,
The Gun Club,
Lightning Bolt,
Aswad,
Harry Pussy,
David McCallum,
R.M.O.,
PIL,
Nick Cave & The Bad Seeds,
Das Ding,
The Sound,
Essential Logic,
Unwound,
The Victims,
The Music Machine,
the Swans,
Electric Light Orchestra,
The Golliwogs,
Masters at Work,
Justin Hinds & The Dominoes,
Lower 48,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.