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 Morocco and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Columbus and Manila.
I'm losing my edge to the art-school Mexico City 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 harpsichord 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 Oppenheimer Analysis to the disco 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 Kevin Saunderson. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Silicon Teens,
Scratch Acid,
Marcia Griffiths,
Monks,
Joey Negro,
Scion,
Lou Reed & John Cale,
Sight & Sound,
Lucky Dragons,
Soul II Soul,
The Royal Family And The Poor,
the Normal,
Gil Scott Heron,
The Slits,
The Gun Club,
Barclay James Harvest,
Khruangbin,
Fela Kuti,
Banda Bassotti,
Yazoo,
Bang On A Can,
Buzzcocks,
Pagans,
Morten Harket,
Basic Channel,
John Cale,
K-Klass,
Kerrie Biddell,
One Last Wish,
L. Decosne,
Lalo Schifrin,
Janne Schatter,
Maurizio,
Agitation Free,
Angry Samoans,
Yellowson,
New York Dolls,
Albert Ayler,
Deakin,
Max Romeo,
The Mighty Diamonds,
Liliput,
Stetsasonic,
Ponytail,
The Divine Comedy,
Nas,
Fort Wilson Riot,
Moebius,
Jeff Lynne,
The Seeds,
James White and The Blacks,
Kings Of Tomorrow,
Sixth Finger,
Frankie Knuckles,
Thinking Fellers Union Local 282,
Jacob Miller,
Mission of Burma,
Pere Ubu,
The Mojo Men,
Ohio Players,
The Vogues,
Warren Ellis,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.