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 Serbia and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Mexico City 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 Soft Boys practice in a loft in Cambridge.
I was working on the sitar 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 Barry Ungar to the electroclash kids.
I played it at the Spitz.
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 Selector Dub Narcotic. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
LL Cool J,
The Men They Couldn't Hang,
The Invisible,
Model 500,
Idris Muhammad,
Hashim,
Pylon,
Matthew Bourne,
Bill Wells,
Delon & Dalcan,
Laurel Aitken,
Severed Heads,
The Vogues,
Justin Hinds & The Dominoes,
Gang Starr,
Blake Baxter,
The Kinks,
The Blackbyrds,
Rhythm & Sound,
Bush Tetras,
K-Klass,
The Mummies,
Malaria!,
The Slits,
Bang On A Can,
Dave Gahan,
John Lydon,
Glambeats Corp.,
Sexual Harrassment,
Adolescents,
Bootsy's Rubber Band,
DJ Sneak,
La Düsseldorf,
Thompson Twins,
The Black Dice,
Tom Boy,
Toni Rubio,
The Wake,
Tubeway Army,
Sam Rivers,
Johnny Clarke,
Scan 7,
Manfred Mann's Earth Band,
Darondo,
CMW,
E-Dancer,
The Sound,
Sugar Minott,
Lakeside,
Lou Reed & John Cale,
Donald Byrd,
Kango’s Stein Massive,
Godley & Creme,
N.O.R.E. Featuring Pharrell,
Junior Murvin,
New Order,
Rotary Connection,
Sight & Sound,
Eric Copeland,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.