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 Ukraine and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1973.
I'm losing my edge.
To all the kids in Bremen and Bremen.
I'm losing my edge to the art-school Edmonton 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 marimba sounds with much patience.
I was there when David Bowie 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 Eyeless In Gaza to the punk 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 Qualms. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Gregory Isaacs,
Jeru the Damaja,
The Victims,
Thompson Twins,
Johnny Clarke,
Idris Muhammad,
Gichy Dan,
Grandmaster Flash,
Bob Dylan,
Oppenheimer Analysis,
Sällskapet,
The Pop Group,
Strawberry Alarm Clock,
The Misunderstood,
The Searchers,
The Neon Judgement,
Brass Construction,
Blossom Toes,
Cabaret Voltaire,
John Cale,
Cybotron,
Toni Rubio,
London Community Gospel Choir,
K-Klass,
Letta Mbulu,
New Order,
The Sisters of Mercy,
A Flock of Seagulls,
Con Funk Shun,
Gabor Szabo,
Röyhkä ja Rättö ja Lehtisalo,
the Soft Cell,
Marmalade,
Kaleidoscope,
Louis and Bebe Barron,
Rufus Thomas,
Wolf Eyes,
Bizarre Inc.,
The Birthday Party,
The Knickerbockers,
Roy Ayers,
Patti Smith,
Lebanon Hanover,
Deutsch Amerikanische Freundschaft,
LL Cool J,
Godley & Creme,
the Bar-Kays,
Absolute Body Control,
Deadbeat,
Cecil Taylor,
Reuben Wilson,
Charles Mingus,
Glenn Branca,
Wasted Youth,
David McCallum,
Brick,
Swell Maps,
the Association,
Blake Baxter,
The Sound, The Sound, The Sound, The Sound.
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.