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 Saudi Arabia and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 linndrum 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 Infiniti to the electroclash kids.
I played it at the Crocodile.
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 Inner City. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
DJ Style,
Be Bop Deluxe,
Black Sheep,
The Offenders,
Terrestrial Tones,
Liaisons Dangereuses,
The Vogues,
Sugar Minott,
Deepchord,
Bush Tetras,
The Grass Roots,
Brass Construction,
Notorious BIG live in Amsterdam,
Bobby Hutcherson,
The Remains,
Quantec,
Eurythmics,
Amon Düül,
Sarah Menescal,
Dr. Dre and Snoop Doggy Dog,
Peter & Gordon,
PIL,
Moby Grape,
Slick Rick,
Alphaville,
DeepChord presents Echospace,
Juan Atkins,
CMW,
Wings,
Minny Pops,
Ultravox,
Average White Band,
Captain Beefheart & His Magic Band,
Gichy Dan,
Dave Gahan,
Josef K,
Cymande,
Rowland S Howard / Lydia Lunch,
Ajijia Myrayebe,
Arab on Radar,
Fat Boys,
Major Organ And The Adding Machine,
Thompson Twins,
Gary Puckett & The Union Gap,
The Fuzztones,
Shoche,
Faraquet,
World's Most,
The Invisible,
Grey Daturas,
Tom Boy,
Al Stewart,
The Associates,
Scion,
The Misunderstood,
Thinking Fellers Union Local 282,
The Electric Prunes,
X-102,
New York Dolls,
Spandau Ballet,
Infiniti,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.