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 El Salvador and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1970.
I'm losing my edge.
To all the kids in London and London.
I'm losing my edge to the art-school Manila 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 chamberlin 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 Jerry's Kids to the jazz kids.
I played it at the Spitz.
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 Skriet. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
The Moleskins,
DeepChord presents Echospace,
James Chance & The Contortions,
Pantytec,
Rhythim Is Rhythim,
Tim Buckley,
The Cosmic Jokers,
Quantec,
Duran Duran,
ABBA,
The Durutti Column,
This Heat,
The Modern Lovers,
E-Dancer,
Richard Hell and the Voidoids,
Lightning Bolt,
It's A Beautiful Day,
Crooked Eye,
Cal Tjader,
The Blackbyrds,
Roy Ayers Ubiquity,
Pylon,
Todd Rundgren,
The Associates,
Japan,
Reagan Youth,
Deepchord,
Camouflage,
The Index,
Bill Wells,
K-Klass,
Neil Young & Crazy Horse,
David McCallum,
Barry Ungar,
Michelle Simonal,
The Cowsills,
Fugazi,
Lyres,
The Fortunes,
Skriet,
Nirvana,
EPMD,
Drive Like Jehu,
The Evens,
The Walker Brothers,
The Misunderstood,
kango's stein massive,
Sugar Minott,
Don Cherry,
Strawberry Alarm Clock,
Black Moon,
Masters at Work,
Derrick Morgan,
Quadrant,
Rod Modell,
These Immortal Souls,
The Sisters of Mercy,
Babytalk,
Sun Ra,
Alison Limerick,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.