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 Iraq and from Edmonton.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school Bremen 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 Josef K practice in a loft in Edinburgh.
I was working on the rhodes 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 Five Americans to the techno kids.
I played it at the 40 Watt.
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 June Days. All the underground hits.
All Slave tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron 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 Wake,
Notorious BIG live in Amsterdam,
New Order,
Be Bop Deluxe,
Bluetip,
Kaleidoscope,
Lou Reed & John Cale,
Lower 48,
Bang On A Can,
London Community Gospel Choir,
Lindisfarne,
The Knickerbockers,
The Searchers,
Bush Tetras,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Neon Judgement,
Blossom Toes,
Absolute Body Control,
Ronan,
Bill Wells,
Amon Düül,
Rites of Spring,
the Association,
Heaven 17,
Stereo Dub,
Youth Brigade,
Pere Ubu,
Pylon,
Roxette,
T.S.O.L.,
Bronski Beat,
Howard Jones,
Marvin Gaye,
Half Japanese,
Dave Gahan,
Delta 5,
the Germs,
Morten Harket,
Jawbox,
Kings Of Tomorrow,
Ash Ra Tempel,
Hashim,
Boogie Down Productions,
Faraquet,
Fort Wilson Riot,
The Five Americans,
The Moleskins,
Lou Reed & Metallica,
Bootsy's Rubber Band,
Kool Moe Dee,
Man Parrish,
Gabor Szabo,
De La Soul & Jungle Brothers,
Gregory Isaacs,
Ohio Players,
Q65,
Deadbeat,
Section 25,
Heavy D & The Boyz,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.