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 Bulgaria and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1976.
I'm losing my edge.
To all the kids in Columbus and Cairo.
I'm losing my edge to the art-school Beijing 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 theremin sounds with much patience.
I was there when Captain Beefheart 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 Harry Pussy to the electroclash kids.
I played it at the Astoria.
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 Fugs. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal rock 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
One Last Wish,
Eric B and Rakim,
A Flock of Seagulls,
Lyres,
Idris Muhammad,
Clear Light,
Soul II Soul,
Major Organ And The Adding Machine,
Symarip,
Frankie Knuckles,
Be Bop Deluxe,
Sound Behaviour,
Judy Mowatt,
The Smoke,
The Divine Comedy,
Archie Shepp,
Mark Hollis,
Rufus Thomas,
Roy Ayers,
Anthony Braxton,
Gang of Four,
Neil Young & Crazy Horse,
Thompson Twins,
Yusef Lateef,
The Saints,
The Skatalites,
Notorious Big And Bone Thugs,
Maurizio,
Jesper Dahlbäck,
PIL,
John Coltrane,
Rites of Spring,
Supertramp,
Nirvana,
Lindisfarne,
Second Layer,
Groovy Waters,
The Mojo Men,
Dead Boys,
Todd Rundgren,
Man Eating Sloth,
Dave Gahan,
Mr. Review,
Severed Heads,
Spandau Ballet,
Metal Thangz,
the Association,
The Pop Group,
Bauhaus,
The Modern Lovers,
The Evens,
De La Soul & Jungle Brothers,
The Tremeloes,
The Techniques,
The Shadows of Knight,
Bluetip,
Young Marble Giants,
Johnny Osbourne,
Beasts of Bourbon,
Massinfluence,
Desert Stars,
Dual Sessions,
Fluxion, Fluxion, Fluxion, Fluxion.
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.