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 Bangladesh and from Tokyo.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Todd Rundgren to the electroclash kids.
I played it at the 40 Watt.
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 Skarface. All the underground hits.
All Flamin' Groovies tracks. I heard you have a vinyl of every Hardrive 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Mary Jane Girls,
The Move,
Siglo XX,
Lou Reed & Metallica,
Erasure,
Monks,
The Victims,
Aural Exciters,
Pete Rock & C.L. Smooth,
Al Stewart,
Cymande,
Smog,
Agent Orange,
John Holt,
Wasted Youth,
Maleditus Sound,
Deepchord,
Isaac Hayes,
Neu!,
Bang On A Can,
Young Marble Giants,
Heaven 17,
Jawbox,
Kool Moe Dee,
Eve St. Jones,
Colin Newman,
The Fortunes,
Faraquet,
Urselle,
Qualms,
The Sound,
Agitation Free,
The Red Krayola,
The Toasters,
Susan Cadogan,
Aaron Thompson,
Roy Ayers,
Guru Guru,
Kas Product,
cv313,
John Cale,
The Seeds,
Brick,
Black Moon,
The Moleskins,
Bobbi Humphrey,
Ten City,
Bronski Beat,
Glambeats Corp.,
Interpol,
The Pretty Things,
Man Eating Sloth,
Flash Fearless,
Lizzy Mercier Descloux,
Robert Hood,
Avey Tare,
The Moody Blues,
The Vogues,
Little Man,
Soul II Soul,
Sonic Youth,
Spandau Ballet,
Morten Harket,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.