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 Indonesia and from Portland.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Salvador 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Fifty Foot Hose to the crunk kids.
I played it at the Spitz.
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 Television Personalities. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Residents record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
the Normal,
Black Pus,
Ken Boothe,
Ludus,
Kevin Saunderson,
Wire,
The Seeds,
Clear Light,
Crime,
Glambeats Corp.,
Excepter,
The Knickerbockers,
Henry Cow,
Flash Fearless,
Cymande,
The Associates,
ABC,
Porter Ricks,
One Last Wish,
Kurtis Blow,
the Swans,
Strawberry Alarm Clock,
F. McDonald,
Danielle Patucci,
Andrew Hill,
Rahsaan Roland Kirk,
KRS-One,
Sad Lovers and Giants,
Hot Snakes,
Schoolly D,
The Dave Clark Five,
Bluetip,
Terrestrial Tones,
Sonny Sharrock,
Spandau Ballet,
Heavy D & The Boyz,
Crooked Eye,
The Names,
Mad Mike,
Scientists,
Mantronix,
Franke,
Faust,
Unwound,
Warsaw,
The Selecter,
The Real Kids,
Richard Hell and the Voidoids,
Jeru the Damaja,
The Kinks,
Robert Wyatt,
Moby Grape,
Cameo,
The Cramps,
Justin Hinds & The Dominoes,
The Slits,
Max Romeo,
John Foxx,
Ultimate Spinach,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.