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 Chile and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Jakarta 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Howard Jones 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 Amazonics. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Hashim,
Deepchord,
Soft Machine,
Roy Ayers Ubiquity,
Lou Reed & John Cale,
L. Decosne,
Section 25,
June of 44,
The Flesh Eaters,
Mary Jane Girls,
Essential Logic,
Robert Wyatt,
Gang Gang Dance,
Crispy Ambulance,
Fugazi,
Marcia Griffiths,
Sunsets and Hearts,
Fela Kuti,
Yusef Lateef,
Kevin Saunderson,
the Bar-Kays,
Scientists,
Quando Quango,
JFA,
Moebius,
Josef K,
Public Enemy,
Judy Mowatt,
Wolf Eyes,
Rosa Yemen,
Minnie Riperton,
Angry Samoans,
Barrington Levy,
Qualms,
Colin Newman,
The J.B.'s,
Jawbox,
Slick Rick,
Peter and Kerry,
Deadbeat,
a-ha,
It's A Beautiful Day,
Lucky Dragons,
Eric Copeland,
Soul Sonic Force,
Isaac Hayes,
the Slits,
Animal Collective,
The Smoke,
The Dave Clark Five,
Danielle Patucci,
One Last Wish,
Ornette Coleman,
Camberwell Now,
Minor Threat,
Absolute Body Control,
Con Funk Shun,
Nik Kershaw,
Oppenheimer Analysis,
Drive Like Jehu,
Bizarre Inc.,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.