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 Costa Rica and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Paris and London.
I'm losing my edge to the art-school Madrid 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 Buzzcocks practice in a loft in Bolton.
I was working on the güiro 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 Ultravox to the jazz 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 Mandrill. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every A Flock of Seagulls record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
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 Move record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
cv313,
The Index,
the Sonics,
Ultra Naté,
Lower 48,
The Sonics,
Radiohead,
Selector Dub Narcotic,
The Blackbyrds,
Bluetip,
Charles Mingus,
Ultramagnetic MC's,
Monks,
Dead Boys,
Gang Gang Dance,
Arab on Radar,
Suburban Knight,
Scion,
Pantytec,
Desert Stars,
Pete Rock & C.L. Smooth,
Dorothy Ashby,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bobby Womack,
Black Sheep,
Amon Düül,
Roxy Music,
Morten Harket,
Lalo Schifrin,
Wighnomy Brothers & Robag Wruhme,
The Electric Prunes,
Oppenheimer Analysis,
The Kinks,
Iggy Pop,
This Heat,
Country Joe & The Fish,
John Cale,
John Coltrane,
Flamin' Groovies,
Spandau Ballet,
Stockholm Monsters,
Mr. Review,
The Misunderstood,
The Trojans,
Nick Cave & The Bad Seeds,
The Sisters of Mercy,
Cybotron,
Dave Gahan,
Soft Cell,
Sarah Menescal,
Big Daddy Kane,
Rahsaan Roland Kirk,
Crooked Eye,
Section 25,
Make Up,
Parry Music,
A Certain Ratio,
Ronan,
F. McDonald,
Ken Boothe,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.