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 Ethiopia and from Manchester.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Seoul and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Durutti Column to the jazz kids.
I played it at CBGB's.
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 Real Kids. All the underground hits.
All Brick tracks. I heard you have a vinyl of every The New Christs 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 snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Grey Daturas,
Sonny Sharrock,
Traffic Nightmare,
Orchestral Manoeuvres in the Dark,
the Fania All-Stars,
Sonic Youth,
Soul Sonic Force,
Alphaville,
Scratch Acid,
Spandau Ballet,
Brothers Johnson,
Derrick May,
Max Romeo,
Blake Baxter,
The West Coast Pop Art Experimental Band,
Faust,
The Red Krayola,
Chrome,
E-Dancer,
Malaria!,
Tom Boy,
Captain Beefheart & His Magic Band,
Derrick Morgan,
Louis and Bebe Barron,
Boogie Down Productions,
kango's stein massive,
Rekid,
Colin Newman,
Bush Tetras,
Ituana,
Peter & Gordon,
The Divine Comedy,
Moby Grape,
The Wake,
John Cale,
B.T. Express,
Josef K,
Tears for Fears,
Rakim,
Eric B and Rakim,
World's Most,
Mad Mike,
Easy Going,
Groovy Waters,
Heavy D & The Boyz,
T.S.O.L.,
The Chocolate Watch Band,
Unrelated Segments,
Marcia Griffiths,
Lakeside,
Lightning Bolt,
The Pop Group,
Technova,
The Count Five,
Sam Rivers,
The Slits,
Pylon,
Fluxion,
Lungfish,
Can,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.