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 Suriname and from Tokyo.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lyon and Tehran.
I'm losing my edge to the art-school Jakarta 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 güiro 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 Soul II Soul to the rock kids.
I played it at the Troubador.
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 LL Cool J. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythim Is Rhythim,
Morten Harket,
Joe Smooth,
Rod Modell,
Black Moon,
The Gun Club,
Liaisons Dangereuses,
The Five Americans,
MDC,
Brass Construction,
The Martian,
Sex Pistols,
Lizzy Mercier Descloux,
Anakelly,
Matthew Bourne,
T.S.O.L.,
Chris Corsano,
Deakin,
One Last Wish,
Marmalade,
Nirvana,
AZ,
Gong,
D'Angelo,
Sexual Harrassment,
Wire,
David McCallum,
Grauzone,
Whodini,
Silicon Teens,
Magazine,
The Pop Group,
Red Lorry Yellow Lorry,
Boz Scaggs,
Boogie Down Productions,
Todd Rundgren,
Ohio Players,
Neu!,
Harmonia,
Warsaw,
Nik Kershaw,
Masters at Work,
The Durutti Column,
Arcadia,
Gang Gang Dance,
Los Fastidios,
T. Rex,
Mantronix,
The Velvet Underground,
Henry Cow,
Pussy Galore,
Peter and Kerry,
Johnny Clarke,
Darondo,
Malaria!,
The Index,
Orchestral Manoeuvres in the Dark,
Ken Boothe,
Television,
Röyhkä ja Rättö ja Lehtisalo,
Ponytail,
Jesper Dahlback,
The Walker Brothers,
Nils Olav,
Pantytec, Pantytec, Pantytec, Pantytec.
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.