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 Honduras and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Beijing 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 mellotron 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 Aaron Thompson to the jazz kids.
I played it at Trash.
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 Slits. All the underground hits.
All Angels of Light & Akron/Family tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
The Standells,
Notorious Big And Bone Thugs,
8 Eyed Spy,
Fugazi,
Monks,
Parry Music,
Symarip,
EPMD,
Unrelated Segments,
Iggy Pop,
DNA,
Kerri Chandler,
Piero Umiliani,
Gerry Rafferty,
Pole,
Lucky Dragons,
Lower 48,
Peter and Kerry,
Barrington Levy,
Idris Muhammad,
Roxy Music,
Bill Wells,
Rotary Connection,
Deepchord,
Bizarre Inc.,
Wolf Eyes,
The Techniques,
Prince Buster,
Tommy Roe,
CMW,
Roxette,
James Chance & The Contortions,
Liliput,
Easy Going,
Scan 7,
The Alarm Clocks,
B.T. Express,
The Barracudas,
MDC,
Heaven 17,
Unwound,
Magazine,
Wasted Youth,
Amon Düül II,
The Durutti Column,
Colin Newman,
the Soft Cell,
Bang on a Can All-Stars,
Bronski Beat,
Sun Ra Arkestra,
Delta 5,
Gregory Isaacs,
Blossom Toes,
Selector Dub Narcotic,
John Lydon,
The Cure,
Ten City,
The Slackers,
Grauzone,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.