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 Namibia and from Sao Paulo.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Hong Kong.
I'm losing my edge to the art-school Salvador 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes 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 Johnny Clarke to the crunk 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 Sister Nancy. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Janne Schatter record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Dead Boys,
Judy Mowatt,
Sister Nancy,
Sarah Menescal,
Alphaville,
Adolescents,
Crispy Ambulance,
Morten Harket,
Brass Construction,
Outsiders,
Roxy Music,
H. Thieme,
Tropical Tobacco,
Main Source,
Freddie Wadling,
Jerry's Kids,
Bush Tetras,
Pantaleimon,
Johnny Osbourne,
Bronski Beat,
Cameo,
The Martian,
Electric Light Orchestra,
Bluetip,
Angry Samoans,
Nirvana,
Delon & Dalcan,
The Leaves,
Soul II Soul,
Byron Stingily,
The Happenings,
The Motions,
Buzzcocks,
Loose Ends,
The Litter,
Simply Red,
Joensuu 1685,
John Foxx,
Vladislav Delay,
Gerry Rafferty,
The Names,
The Knickerbockers,
Niagra,
Excepter,
Major Organ And The Adding Machine,
Radiopuhelimet,
Supertramp,
the Normal,
John Holt,
DeepChord presents Echospace,
Lou Reed & Metallica,
Jeff Mills,
Ken Boothe,
Flipper,
Brand Nubian,
Ultravox,
the Bar-Kays,
The Raincoats,
Barbara Tucker,
Charles Mingus,
Crime, Crime, Crime, Crime.
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.