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 Uruguay and from Stockholm.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Calgary and Edmonton.
I'm losing my edge to the art-school Halifax 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 synthesizer 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 Ludus to the crunk kids.
I played it at the Troubador.
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 Man Parrish. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Don Cherry,
Marcia Griffiths,
David McCallum,
Curtis Mayfield,
Ken Boothe,
Massinfluence,
Index,
Larry & the Blue Notes,
Lightning Bolt,
Moebius,
John Lydon,
Funkadelic,
Gian Franco Pienzio,
Michelle Simonal,
Big Daddy Kane,
Tomorrow,
Kurtis Blow,
Television Personalities,
The Alarm Clocks,
New York Dolls,
Dr. Dre and Snoop Doggy Dog,
Josef K,
Hashim,
Motorama,
Kool Moe Dee,
Aaron Thompson,
Aural Exciters,
Piero Umiliani,
48th St. Collective,
Crash Course in Science,
Sparks,
Livin' Joy,
the Swans,
Lafayette Afro Rock Band,
The Vogues,
Faraquet,
Lalann,
Jerry's Kids,
Sticky Fingaz feat. Raekwon,
Gregory Isaacs,
Country Joe & The Fish,
Pole,
Al Stewart,
Junior Murvin,
Kings Of Tomorrow,
Terry Callier,
Roxy Music,
Skriet,
The Fortunes,
Gary Puckett & The Union Gap,
Avey Tare,
Hoover,
Hasil Adkins,
Joy Division,
Röyhkä ja Rättö ja Lehtisalo,
Jesper Dahlback,
Letta Mbulu,
Royal Trux,
The Golliwogs,
Ultramagnetic MC's,
Technova,
Minor Threat,
Second Layer,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.