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 Malaysia and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1973.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Manchester 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Hot Snakes to the electroclash kids.
I played it at the Hacienda.
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 Junior Murvin. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Wolf Eyes,
Jesper Dahlbäck,
David Bowie,
Be Bop Deluxe,
Joey Negro,
Letta Mbulu,
The Grass Roots,
Niagra,
Gil Scott-Heron & Brian Jackson,
Swell Maps,
Magazine,
The Pop Group,
Ponytail,
Hasil Adkins,
Ultravox,
Bootsy Collins,
The Leaves,
AZ,
Minutemen,
the Human League,
EPMD,
The Cure,
The Move,
Bluetip,
Audionom,
The Trojans,
Eric Dolphy,
Donny Hathaway,
The Count Five,
The Fire Engines,
Young Marble Giants,
Nick Fraelich,
The Motions,
Au Pairs,
Y Pants,
Cluster,
Monks,
DJ Style,
Wighnomy Brothers & Robag Wruhme,
Mr. Review,
Sun Ra Arkestra,
The Modern Lovers,
Angry Samoans,
The Mojo Men,
The Saints,
Faraquet,
Don Cherry,
The Monochrome Set,
Lakeside,
Anakelly,
The Dave Clark Five,
The Shadows of Knight,
Sight & Sound,
Half Japanese,
Lou Reed,
Arthur Verocai,
Shoche,
Little Man,
Nico,
Lou Reed & Metallica,
Zapp,
The Fall,
The Selecter, The Selecter, The Selecter, The Selecter.
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.