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 Guyana and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1964 to 1975.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Cairo 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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 Bang on a Can All-Stars to the jazz kids.
I played it at the Roxy.
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 Warsaw. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels 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?
The Men They Couldn't Hang,
Liaisons Dangereuses,
Los Fastidios,
Stereo Dub,
Man Parrish,
Grauzone,
Television Personalities,
Kas Product,
Jawbox,
Black Flag,
Bob Dylan,
Brothers Johnson,
Manfred Mann's Earth Band,
Deepchord,
48th St. Collective,
Cameo,
Faust,
Camron Feat. Jay Z And Juelz,
Rosa Yemen,
Groovy Waters,
10cc,
Fifty Foot Hose,
La Düsseldorf,
Avey Tare & Kría Brekkan,
The Happenings,
Bootsy Collins,
Cluster,
Selector Dub Narcotic,
Radiopuhelimet,
The Saints,
Skarface,
Kerrie Biddell,
Ralphi Rosario,
Sarah Menescal,
Siglo XX,
The Techniques,
EPMD,
Vladislav Delay,
Eddi Front,
John Lydon,
a-ha,
Excepter,
D'Angelo,
The Index,
Barrington Levy,
Main Source,
Masters at Work,
Lindisfarne,
AZ,
Eyeless In Gaza,
Matthew Bourne,
Infiniti,
The Red Krayola,
New Age Steppers,
Heaven 17,
Monks,
Arab on Radar,
the Soft Cell,
The Toasters,
ABBA,
Rahsaan Roland Kirk,
Johnny Clarke,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.