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 Switzerland and from Sao Paulo.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Lyon and Stockholm.
I'm losing my edge to the art-school Seoul 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 harpsichord 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 X-101 to the grime 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 Model 500. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Bush Tetras record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Gregory Isaacs,
Swell Maps,
Chris & Cosey,
A Flock of Seagulls,
Susan Cadogan,
The Flesh Eaters,
Pussy Galore,
The Selecter,
Altered Images,
Lalo Schifrin,
Deadbeat,
Lightning Bolt,
The Mojo Men,
The Beau Brummels,
The Remains,
Echo & the Bunnymen,
The Victims,
Gang of Four,
L. Decosne,
Marine Girls,
The J.B.'s,
Suburban Knight,
Lucky Dragons,
Pylon,
Dead Boys,
The Gladiators,
Liliput,
Deepchord,
The Dave Clark Five,
Icehouse,
Jawbox,
The Grass Roots,
Pete Rock & C.L. Smooth,
Gerry Rafferty,
Sparks,
Howard Jones,
Bronski Beat,
Peter Gordon & Love of Life Orchestra,
the Bar-Kays,
Con Funk Shun,
Thinking Fellers Union Local 282,
Marmalade,
Kurtis Blow,
Suicide,
Sarah Menescal,
The Trojans,
Can,
Marc Romboy vs. Booka Shade,
Marvin Gaye,
Harpers Bizarre,
Leonard Cohen,
Drive Like Jehu,
The Velvet Underground,
Eden Ahbez,
The Monochrome Set,
Byron Stingily,
Rahsaan Roland Kirk,
Pharaoh Sanders and the Fire Engines,
Charles Mingus,
Mantronix,
Negative Approach,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.