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 Chad and from Jakarta.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Tehran and New York.
I'm losing my edge to the art-school Hong Kong 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 synthesizer 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 The Searchers to the punk 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 Eve St. Jones. All the underground hits.
All June Days 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 disco 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Tropical Tobacco,
The Men They Couldn't Hang,
The Zeros,
Neil Young & Crazy Horse,
Mandrill,
the Association,
Babytalk,
Ludus,
Technova,
Lou Reed & Metallica,
The Gun Club,
Roy Ayers Ubiquity,
the Swans,
Public Image Ltd.,
Traffic Nightmare,
Pere Ubu,
Khruangbin,
The Searchers,
Quadrant,
Angry Samoans,
Sparks,
Cecil Taylor,
Amazonics,
John Cale,
Crispy Ambulance,
Underground Resistance,
Echo & the Bunnymen,
Yaz,
The Techniques,
Porter Ricks,
X-101,
Duran Duran,
Fluxion,
In Retrospect,
Junior Murvin,
A Certain Ratio,
the Bar-Kays,
Jesper Dahlbäck,
Ornette Coleman,
The Standells,
Quando Quango,
Justin Hinds & The Dominoes,
Jerry's Kids,
Peter Gordon & Love of Life Orchestra,
Art Ensemble Of Chicago,
Dead Boys,
Mo-Dettes,
48th St. Collective,
Rowland S Howard / Lydia Lunch,
Magazine,
Eurythmics,
The United States of America,
Lungfish,
F. McDonald,
KRS-One,
The Gories,
Derrick May,
Theoretical Girls,
The Monochrome Set,
Jeru the Damaja,
Nico,
Altered Images, Altered Images, Altered Images, Altered Images.
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.