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 Luxembourg and from Hong Kong.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Taipei 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 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 the Soft Cell to the disco 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 Busters. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every The Skatalites 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
Dark Day,
Brick,
Absolute Body Control,
Kaleidoscope,
Alison Limerick,
The Neon Judgement,
Johnny Osbourne,
The Doors,
Babytalk,
Ituana,
Tommy Roe,
Negative Approach,
Sex Pistols,
Robert Görl,
Oblivians,
Donny Hathaway,
DeepChord presents Echospace,
The Golliwogs,
Juan Atkins,
Junior Murvin,
the Normal,
Wighnomy Brothers & Robag Wruhme,
Moebius,
The Durutti Column,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Dawn Penn,
Grauzone,
Swell Maps,
Hardrive,
Amon Düül,
Intrusion,
Robert Hood,
Röyhkä ja Rättö ja Lehtisalo,
Gerry Rafferty,
The Fall,
The Saints,
Colin Newman,
48th St. Collective,
Gil Scott Heron,
Soul Sonic Force,
Section 25,
The Mojo Men,
The Shadows of Knight,
Mr. Review,
Soft Cell,
Lee Hazlewood,
Quantec,
a-ha,
Average White Band,
Nation of Ulysses,
Quando Quango,
T. Rex,
Icehouse,
Don Cherry,
Jawbox,
Steve Hackett,
DJ Style,
Sam Rivers,
Andrew Hill,
DJ Sneak,
Isaac Hayes,
Supertramp, Supertramp, Supertramp, Supertramp.
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.