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 Zimbabwe and from Toronto.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school London 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 Feelies practice in a loft in Haledon.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Vaughan Mason & Crew to the disco kids.
I played it at the Astoria.
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 Smog. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Todd Terry,
Lucky Dragons,
Moss Icon,
Heaven 17,
Nirvana,
OOIOO,
Heavy D & The Boyz,
Soft Cell,
Mantronix,
Silicon Teens,
John Coltrane,
Funkadelic,
Soul Sonic Force,
Shoche,
the Human League,
New York Dolls,
Teenage Jesus and the Jerks,
Tubeway Army,
Magma,
Throbbing Gristle,
Pylon,
Rapeman,
Quadrant,
Colin Newman,
Banda Bassotti,
The Moleskins,
This Heat,
Bob Dylan,
Subhumans,
The Seeds,
Rotary Connection,
The Move,
The Gun Club,
The J.B.'s,
Glambeats Corp.,
The Zeros,
The Knickerbockers,
Nation of Ulysses,
Bobby Sherman,
DeepChord presents Echospace,
The Stooges,
Al Stewart,
Tommy Roe,
Stiv Bators,
The Searchers,
Lizzy Mercier Descloux,
Bobby Womack,
Make Up,
Major Organ And The Adding Machine,
Porter Ricks,
Sandy B,
Lyres,
Brick,
Larry & the Blue Notes,
The Doors,
Susan Cadogan,
Q65,
Max Romeo,
Selector Dub Narcotic,
Crime,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.