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 Sierra Leone and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Accra and Paris.
I'm losing my edge to the art-school Sao Paulo 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 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 The Standells to the grime 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 Neil Young & Crazy Horse. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Five Americans,
Motorama,
Gregory Isaacs,
Minnie Riperton,
The Gap Band,
The Birthday Party,
The Dave Clark Five,
Moss Icon,
Fluxion,
Delta 5,
Arthur Verocai,
The Alarm Clocks,
Alton Ellis,
Hasil Adkins,
Bluetip,
Bootsy's Rubber Band,
The Happenings,
The Blackbyrds,
Harry Pussy,
Con Funk Shun,
Vainqueur,
MDC,
The Wake,
kango's stein massive,
Barry Ungar,
Rhythm & Sound,
Scion,
X-102,
Erasure,
Suburban Knight,
Visionaries,LMNO, T- Love & Iriscience,
Ornette Coleman,
Richard Hell and the Voidoids,
The Leaves,
Supertramp,
Heaven 17,
Grauzone,
Joensuu 1685,
Sad Lovers and Giants,
Malaria!,
OOIOO,
Roxette,
Black Moon,
Ponytail,
Masters at Work,
Bang On A Can,
Angels of Light & Akron/Family,
Wire,
Jeru the Damaja,
Urselle,
The Index,
Kaleidoscope,
The Dead C,
Theoretical Girls,
Liliput,
Electric Prunes,
Simply Red,
Oppenheimer Analysis,
The Royal Family And The Poor,
Ludus,
Albert Ayler,
Rod Modell,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.