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 Algeria and from Cairo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Taipei 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 Ajijia Myrayebe to the dance 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 kango's stein massive. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 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?
Joe Smooth,
Tears for Fears,
Basic Channel,
Spoonie Gee,
Youth Brigade,
The Gladiators,
La Düsseldorf,
Suicide,
Kenny Larkin,
Television,
Wings,
Fat Boys,
Jerry's Kids,
The Raincoats,
The Vogues,
The American Breed,
Amon Düül,
The Doors,
Sun Ra Arkestra,
Jerry Gold Smith,
The Modern Lovers,
Major Organ And The Adding Machine,
The Names,
Eli Mardock,
The Count Five,
Grandmaster Flash,
Ituana,
Harmonia,
the Normal,
The Moleskins,
Angels of Light & Akron/Family,
Monolake,
Mantronix,
Crispian St. Peters,
Big Daddy Kane,
The Slackers,
Althea and Donna,
Pulsallama,
Jeru the Damaja,
Cabaret Voltaire,
Vladislav Delay,
Dead Boys,
The Sound,
Quando Quango,
Avey Tare's Slasher Flicks,
Radio Birdman,
Joe Finger,
Avey Tare,
Scott Walker,
Ludus,
Sex Pistols,
Underground Resistance,
Gerry Rafferty,
Flash Fearless,
June of 44,
Black Bananas,
Y Pants,
Pantytec,
The Skatalites,
Whodini,
Moss Icon,
The Selecter, The Selecter, The Selecter, The Selecter.
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.