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 Uzbekistan and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Spokane and Houston.
I'm losing my edge to the art-school Halifax 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 snare 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 Don Cherry to the dance 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 Spandau Ballet. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Manfred Mann's Earth Band record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Kerri Chandler,
Scrapy,
Marvin Gaye,
Boogie Down Productions,
The Jesus and Mary Chain,
Cheater Slicks,
Lebanon Hanover,
Deadbeat,
Das Ding,
The Names,
Letta Mbulu,
Lalo Schifrin,
Radiohead,
The Sonics,
The Dirtbombs,
Lalann,
Minor Threat,
Crash Course in Science,
Colin Newman,
The Human League,
The Fire Engines,
Underground Resistance,
The Moleskins,
Eden Ahbez,
Mantronix,
The Remains,
Crime,
Model 500,
Oppenheimer Analysis,
Albert Ayler,
Rhythim Is Rhythim,
Rod Modell,
Big Daddy Kane,
Echo & the Bunnymen,
Youth Brigade,
The Blackbyrds,
Crispian St. Peters,
Lee Hazlewood,
The Grass Roots,
E-Dancer,
Bill Near,
The Tremeloes,
Selector Dub Narcotic,
Pylon,
Vaughan Mason & Crew,
Buzzcocks,
June of 44,
Rites of Spring,
De La Soul & Jungle Brothers,
Johnny Clarke,
Maurizio,
The Index,
Ajijia Myrayebe,
Erasure,
Camouflage,
the Association,
The Gladiators,
Max Romeo,
Kayak,
Gil Scott-Heron and Jamie xx,
Bootsy's Rubber Band,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.