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 Trinidad & Tobago and from Mumbai.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Beijing and Cairo.
I'm losing my edge to the art-school Manila 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Peter Gordon & Love of Life Orchestra to the electroclash kids.
I played it at the Hacienda.
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 The Neon Judgement. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Supertramp 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Rod Modell,
Youth Brigade,
Mr. Review,
Aural Exciters,
Bill Wells,
Massinfluence,
Eddi Front,
D'Angelo,
Kerri Chandler,
Idris Muhammad,
Oneida,
Johnny Clarke,
Kevin Saunderson,
The Martian,
Vainqueur,
Rapeman,
China Crisis,
The United States of America,
Mary Jane Girls,
Make Up,
Whodini,
the Germs,
The Dead C,
Red Lorry Yellow Lorry,
Lyres,
Sparks,
the Bar-Kays,
Suicide,
Eric Dolphy,
Harmonia,
Banda Bassotti,
The Techniques,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Amazonics,
The Shadows of Knight,
Dawn Penn,
Bronski Beat,
Inner City,
La Düsseldorf,
Kurtis Blow,
Sandy B,
Echospace,
X-101,
Tomorrow,
The Grass Roots,
Radiopuhelimet,
Marc Almond,
Audionom,
The Neon Judgement,
Big Daddy Kane,
Yazoo,
Carl Craig,
E-Dancer,
Jandek,
Metal Thangz,
The Gun Club,
Wolf Eyes,
Roger Hodgson,
Pete Rock & C.L. Smooth,
Television Personalities,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.