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 Equatorial Guinea and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Accra and Mexico City.
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 1984 at the first Arcadia practice in a loft in 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 U.S. Maple to the crunk kids.
I played it at the Crocodile.
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 Pulsallama. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every The Modern Lovers 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Connie Case,
Ralphi Rosario,
Ornette Coleman,
The Sonics,
Lindisfarne,
Underground Resistance,
The Motions,
The Trojans,
Pierre Henry,
Sixth Finger,
John Foxx,
Alton Ellis,
Pole,
Andrew Ashong & Theo Parrish,
Art Ensemble Of Chicago,
Barbara Tucker,
A Flock of Seagulls,
Rotary Connection,
the Soft Cell,
The Pretty Things,
Black Sheep,
Dark Day,
Neil Young & Crazy Horse,
Lower 48,
Bluetip,
The Chocolate Watch Band,
Soft Machine,
Swans,
Fatback Band,
Alphaville,
Black Pus,
Vaughan Mason & Crew,
Eurythmics,
The Detroit Cobras,
the Normal,
Interpol,
Pere Ubu,
Average White Band,
Joensuu 1685,
Sex Pistols,
Barclay James Harvest,
Matthew Bourne,
Kerrie Biddell,
Tears for Fears,
Boredoms,
Nation of Ulysses,
Blake Baxter,
Ash Ra Tempel,
Babytalk,
Marine Girls,
Young Marble Giants,
Camberwell Now,
Marvin Gaye,
These Immortal Souls,
Amon Düül,
Camouflage,
kango's stein massive,
Sandy B,
The Sound,
Neil Young,
The Saints,
Siglo XX,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.