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 Kyrgyzstan and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Delhi.
I'm losing my edge to the art-school Johannesburg 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 spring reverb 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 Masters at Work to the funk 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 Electric Prunes. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every The Detroit Cobras 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 '70s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
The Doors,
Section 25,
Henry Cow,
The Names,
Bush Tetras,
L. Decosne,
Electric Light Orchestra,
Eli Mardock,
The United States of America,
the Soft Cell,
Vainqueur,
Siglo XX,
The Durutti Column,
the Association,
Marcia Griffiths,
Gichy Dan,
The Busters,
ABC,
Erykah Badu,
Pussy Galore,
Sad Lovers and Giants,
Aswad,
Mary Jane Girls,
Cymande,
Rotary Connection,
Zero Boys,
Drive Like Jehu,
Amon Düül II,
Masters at Work,
Altered Images,
Sun Ra,
Traffic Nightmare,
the Swans,
Crispian St. Peters,
Talk Talk,
Black Moon,
The Offenders,
Lebanon Hanover,
Tomorrow,
John Foxx,
Lou Christie,
Lower 48,
The Litter,
Barry Ungar,
Kerrie Biddell,
Jacob Miller,
The Star Department,
Notorious BIG live in Amsterdam,
Lindisfarne,
Jesper Dahlbäck,
Scion,
The Human League,
Subhumans,
Roy Ayers,
The Real Kids,
Connie Case,
Index,
Bad Manners,
E-Dancer,
The Royal Family And The Poor,
Malaria!,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.