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 Israel and from Paris.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 Gichy Dan to the techno kids.
I played it at the Roxy.
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 The American Breed. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Tim Buckley,
The Tremeloes,
the Germs,
The Fugs,
Dead Boys,
Mary Jane Girls,
David Axelrod,
Jacob Miller,
Jeru the Damaja,
Fatback Band,
Qualms,
R.M.O.,
Agitation Free,
Kool Moe Dee,
Brass Construction,
Grauzone,
The Mummies,
The Royal Family And The Poor,
Flamin' Groovies,
De La Soul & Jungle Brothers,
The Cramps,
Connie Case,
Severed Heads,
Zapp,
the Soft Cell,
Khruangbin,
Wasted Youth,
The Cosmic Jokers,
Sugar Minott,
Lindisfarne,
Sällskapet,
Ronnie Foster,
Shoche,
Notorious BIG live in Amsterdam,
The Dirtbombs,
Pole,
Flash Fearless,
Skaos,
Larry & the Blue Notes,
Cybotron,
New York Dolls,
Al Stewart,
Fear,
Toni Rubio,
Echo & the Bunnymen,
Rufus Thomas,
The Stooges,
Sam Rivers,
The Count Five,
John Foxx,
The Divine Comedy,
Soft Machine,
Rakim,
Nick Cave & The Bad Seeds,
Wolf Eyes,
The Slackers,
Von Mondo,
Eric B and Rakim,
Avey Tare & Kría Brekkan,
Drexciya,
Scratch Acid,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.